Pygmalion by George Bernard Shaw
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Film After Authority: the Transition to Democracy and the End of Politics Kalling Heck University of Wisconsin-Milwaukee
University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations May 2017 Film After Authority: the Transition to Democracy and the End of Politics Kalling Heck University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the Film and Media Studies Commons Recommended Citation Heck, Kalling, "Film After Authority: the Transition to Democracy and the End of Politics" (2017). Theses and Dissertations. 1484. https://dc.uwm.edu/etd/1484 This Dissertation is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. FILM AFTER AUTHORITY THE TRANSITION TO DEMOCRACY AND THE END OF POLITICS by Kalling Heck A Dissertation SubmitteD in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in English at The University of Wisconsin-Milwaukee May 2017 ABSTRACT FILM AFTER AUTHORITY THE TRANSITION TO DEMOCRACY AND THE END OF POLITICS by Kalling Heck The University of Wisconsin-Milwaukee, 2017 Under the Supervision of Professor Patrice Petro A comparison of films maDe after the transition from authoritarianism or totalitarianism to Democracy, this Dissertation aDDresses the ways that cinema can Digest anD extenD moments of political transition. By comparing films from four Different nations—the Italian Germany Year Zero, Hungarian Sátántangó, South Korean Woman on the Beach, anD American Medium Cool—in relation to iDeas Drawn from critical anD political theory, this project examines how anD why these wilDly Diverse films turn to ambiguity as their primary means to Disrupt the ravages of unchecked authority. -
The Influence of Kitchen Sink Drama in John Osborne's
IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 23, Issue 9, Ver. 7 (September. 2018) 77-80 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org The Influence of Kitchen Sink Drama In John Osborne’s “ Look Back In Anger” Sadaf Zaman Lecturer University of Bisha Kingdom of Saudi Arabia Corresponding Author: Sadaf Zaman ----------------------------------------------------------------------------------------------------------------------------- ---------- Date of Submission:16-09-2018 Date of acceptance: 01-10-2018 ----------------------------------------------------------------------------------------------------------------------- ---------------- John Osborne was born in London, England in 1929 to Thomas Osborne, an advertisement writer, and Nellie Beatrice, a working class barmaid. His father died in 1941. Osborne used the proceeds from a life insurance settlement to send himself to Belmont College, a private boarding school. Osborne was expelled after only a few years for attacking the headmaster. He received a certificate of completion for his upper school work, but never attended a college or university. After returning home, Osborne worked several odd jobs before he found a niche in the theater. He began working with Anthony Creighton's provincial touring company where he was a stage hand, actor, and writer. Osborne co-wrote two plays -- The Devil Inside Him and Personal Enemy -- before writing and submittingLook Back in Anger for production. The play, written in a short period of only a few weeks, was summarily rejected by the agents and production companies to whom Osborne first submitted the play. It was eventually picked up by George Devine for production with his failing Royal Court Theater. Both Osborne and the Royal Court Theater were struggling to survive financially and both saw the production of Look Back in Anger as a risk. -
Edwardian Comedy and Progressive Politics
Back to the Future: Edwardian Comedy and Progressive Politics by Rachel McArthur A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of English University of Toronto © Copyright by Rachel McArthur 2018 Back to the Future: Edwardian Comedy and Progressive Politics Rachel McArthur Doctor of Philosophy Department of English University of Toronto 2018 Abstract The Edwardian period is often figured as a garden party broken up by the First World War. Looking back on the early twentieth century from the perspective of the twenty first, a different, strikingly contemporary picture emerges: amidst social and technological change, world capitals were haunted by the threat of instability and economic inequality, while the political left faced urgent questions about its continued relevance. Contrary to the image of the period as complacent on the brink of disaster, my dissertation asserts that the Edwardians were deeply invested in building a better future through both political reform and literary comedy. Both comedy and progressive reform look toward the future; in both cases, the Edwardians negotiated between convention and innovation to attempt to create a more equitable future. The dissertation ultimately illustrates the crucial role of the period in literary history and how its lessons may inform our own, which it much resembles. In order to do so, my readings of specifically Edwardian texts are situated in relation to larger historical narratives of both comedy as a genre and political reform. The first chapter reads George Meredith’s “Essay on Comedy” (1877) and The Egoist (1879) alongside Gladstonian Liberal reforms. Like those interventions, the “Essay” looks toward beneficial changes within existing traditions, while The Egoist puts them into practice. -
My Fair Lady
LOS M usical Theatre presents Lerner and Loewe’s My Fair Lady Book and lyrics by ALAN JAY LERNER Music by FREDERICK LOEWE KINDLY SPONSORED BY Adapted from George Bernard Shaw’s Play and Gabriel Pascal’s Motion Picture “PYGMALION” 2 - 6 April 2019 Original Production Directed and Staged by Moss Hart Lewes Town Hall AUDITION PACK Visit losmusicaltheatre.org.uk for more information Tues 2 - Sat 6 April 2019 PRODUCTION TEAM Director: David Foster Musical Director: Ben Knowles Choreographer: Collette Goodwin Production Assistants: Nick Hazle and Amy Reynolds IMPORTANT EARLY DATES Wednesday 10 October, 8pm Launch night at Market Tower (MT) Monday 15 October, 7.30pm Audition workshop at MT with Musical Director/Choreographer Wednesday 17 October, 7.30pm Audition workshop at MT with Musical Director/Choreographer Monday 22 October, 7.30pm Audition workshop at MT with Musical Director/Choreographer Wednesday 24 October, 7.30pm Audition workshop at MT with Musical Director/Choreographer Sunday 28 October (times to be confirmed) Audition day at MT Monday 29 October, 7.30pm (if required) Recall day to be kept available in case call backs required Wednesday 7 November, 7.30pm First full company call CONTACT DETAILS David – 07710 855295 - [email protected] Ben – 07940 343053 - [email protected] • Collette – 07788 581940 – [email protected] Nick – 07756117037 - [email protected] • Amy – 07919 181690 - [email protected] My Fair Lady Lerner and Loewe’s My Fair Lady is one of the best-loved musicals of all time. Based on George Bernard Shaw’s play Pygmalion , Elisa Doolittle’s journey at the hands of Henry Higgins from flower girl to society lady has been enjoyed world-wide since the 1950s when it was first performed, both on stage and as a successful movie. -
A Chronology of Works by and About Bernard Shaw
A Chronology of Works By and About Bernard Shaw CONTENTS A. Shaw’s Novels, Plays and Commentary 2 B. Shaw’s Reviews and Criticism 5 C. Shaw’s Collected Writings and Letters 5 D. Biographies and Biographical Studies 8 E. Books and Essay Collections 9 F. Reference Books 15 G. Scholarly Editions of Shaw’s Plays 15 H. Bibliographies 16 I. Miscellanea 17 2 A. Shaw’s Novels, Plays and Commentary First date: year(s) written Second date: year of first performance Third date(s): year(s) of publication [in brackets] 1878 My Dear Dorothea: A Practical System of Moral Education for Females Embodied in a Letter to a Young Person of that Sex (ed. S. Winsten) [1906; 1956] 1878 Passion Play (fragment) [1971] 1879 Immaturity (novel) [1930] 1880 The Irrational Knot (novel) [ser. 1885-7; 1905] 1881 Love Among the Artists (novel) [ser. 1887-8; 1900] 1882 Cashel Byron’s Profession (novel) [ser. 1885-6; 1886; rev 1889, 1901] 1883 An Unsocial Socialist (novel) [ser. 1884; 1887] 1884 Un Petit Drame (playlet) [1959] 1884/92 Widowers’ Houses 1893 [1893; rev. 1898] 1887-88 An Unfinished Novel (novel fragment) [1958] 1889 Fabian Essays in Socialism (ed. Shaw) [1889; rev. 1908, 1931, 1948] 1890 Ibsen Lecture before the Fabian Society [1970] 1891 The Quintessence of Ibsenism (criticism) [1891; rev. 1913] 1893 The Philanderer 1905 [1898] 1893 Mrs Warren’s Profession 1902 [1898; rev. 1930] 1893-94 Arms and The Man 1894 [1898; rev. 1930] 1894 Candida 1897 [1898; rev. 1930] 1895 The Man of Destiny 1897 [1898; rev. 1930] 1895 The Sanity of Art (art criticism) [1895; rev. -
Misalliance the Articles in This Study Guide Are Not Meant to Mirror Or Interpret Any Productions at the Utah Shakespeare Festival
Insights A Study Guide to the Utah Shakespeare Festival Misalliance The articles in this study guide are not meant to mirror or interpret any productions at the Utah Shakespeare Festival. They are meant, instead, to be an educational jumping-off point to understanding and enjoying the plays (in any production at any theatre) a bit more thoroughly. Therefore the stories of the plays and the interpretative articles (and even characters, at times) may differ dramatically from what is ultimately produced on the Festival’s stages. Insights is published by the Utah Shakespeare Festival, 351 West Center Street; Cedar City, UT 84720. Bruce C. Lee, communications director and editor; Phil Hermansen, art director. Copyright © 2011, Utah Shakespeare Festival. Please feel free to download and print Insights, as long as you do not remove any identifying mark of the Utah Shakespeare Festival. For more information about Festival education programs: Utah Shakespeare Festival 351 West Center Street Cedar City, Utah 84720 435-586-7880 www.bard.org. Cover photo: William Leach (left) and Jody Barrett in Misalliance, 1991. Contents Information on the Play Synopsis 4 CharactersMisalliance 5 About the Playwrights 6 Scholarly Articles on the Play Misalliance and Shaw: Extraordinary 8 A “Discussion” Play 9 The Entertaining Gospel 12 Utah Shakespeare Festival 3 351 West Center Street • Cedar City, Utah 84720 • 435-586-7880 Synopsis: Misalliance In the garden pavilion of his father’s house, Johnny Tarleton is lounging comfortably, when his sister Hypatia’s fiance, Bentley Summerhays, arrives with an offensive air of superiority. Threatened with a beating, Bentley throws himself on the floor and screams, bringing Mrs. -
The Central Theme of Education in Shaw's Pygmalion
www.the-criterion.com The Criterion [email protected] An International Journal in English ISSN 0976-8165 The Central Theme of Education in Shaw’s Pygmalion Dr. D. Prasad Assistant Professor of English, Jeppiaar Engineering College, Chennai – 600 119 Tamilnadu, India The Central Theme of Education The contribution on Bernard Shaw to the modern English drama is significant. He discusses a serious problem of the contemporary society as intensely as he can. Therefore the readers call his plays ‘Comedies of Purpose’ In writing plays, Shaw had the deliberate object of converting the society to his views and ideas. He had no other incentive to write plays. G.K. Chesterton says: Bernard Shaw has much affinity to Plato in his instinctive elevation of temper, his courageous pursuit of ideas as far as they will go; his civic idealism, and also, it must be confessed, in his dislike of poets and a touch of delicate inhumanity (GeorgeBernard Shaw: 53) Education is enlightenment. Like a rainbow, it unfurls many hues, right from child development up to higher education. It also hovers into remedial programmes for backward students. It is an artistic science and a scientific art. It is not reading books but understanding. It is the art of imparting knowledge, not thrusting knowledge, into the unwilling throat. In Pygmalion, education is used as a tool for emancipating working class individuals. Eliza gets uprooted and has to give up personal feature. Language is linked up with identity and finds a new identity through education. Eliza’s transformation demonstrates that social distinctions such as accents, age, class barriers can be overcome by language training. -
Tennessee William‟S Contribution to American Drama
© January 2019 | IJIRT | Volume 5 Issue 8 | ISSN: 2349-6002 Tennessee William‟s Contribution to American Drama Mrs.M.Kokila1, T.Akhila2 1M.A., M.Phil, Assistant Professor, Nadar Saraswathi College of Arts and Science, Theni 2M.A., English, Nadar Saraswathi College of Arts and Science, Theni Abstract- Tennesse Williams is a dramatist of lost souls. seen in the work of Europeans such as John Osborne, His milieu is the south, a tense and unreconstructed Harold Pinter and Jean Genet as well as in that of locale typical only of an environment we all inhabit. In Americans such Williams Inge, paddy Chayefsky and the mythology of his work, the south is an antebellum Edward Albee. mansion of faded elegance inhabited by gentle dreamers, misfits, fugitives and outcasts losers who are WILLIAMS, THE MOST POPULAR not meant to win. Always the gothic focus of his work echoes an awareness of loneliness and loss a sense of PLAYWRIGHT AND A MAJOR DRAMATIST corruption and the physical violence which is an aspect of southern romanticism. His theme is the plight of the William‟s claims to the status of a major dramatist individual trapped by his environment, the loneliness rests, in large measure, on the significant and popular and lack of communication between human beings acceptance accorded four works: THE GLASS unable to reconcile the flesh with sprit. It is his special MENAGERIE (1945), A STREETCAR NAMED to temper extremes of physical violence, brutality and DESIRE (1947), SUMMER AND SMOKE (1948) perversion with gentle, loving glimpses of humanity and and CAT ON A HOT TIN ROOF (1955). -
MISALLIANCE : Know-The-Show Guide
The Shakespeare Theatre of New Jersey MISALLIANCE: Know-the-Show Guide Misalliance by George Bernard Shaw Know-the-Show Audience Guide researched and written by the Education Department of The Shakespeare Theatre of New Jersey Artwork: Scott McKowen The Shakespeare Theatre of New Jersey MISALLIANCE: Know-the-Show Guide In This Guide – MISALLIANCE: From the Director ............................................................................................. 2 – About George Bernard Shaw ..................................................................................................... 3 – MISALLIANCE: A Short Synopsis ............................................................................................... 4 – What is a Shavian Play? ............................................................................................................ 5 – Who’s Who in MISALLIANCE? .................................................................................................. 6 – Shaw on — .............................................................................................................................. 7 – Commentary and Criticism ....................................................................................................... 8 – In This Production .................................................................................................................... 9 – Explore Online ...................................................................................................................... 10 – Shaw: Selected -
How Ovid's “Pygmalion”
The Complex Relationship of Ars and Natura: How Ovid’s “Pygmalion” Employs the Power of the Artist Kelsey Littlefield ‘17 ublius Ovidius Naso, commonly known as Ovid, was a Roman poet and author who lived during the reign of P Augustus Caesar. He is renowned as poet of great variety and skill, and no work so wonderfully displays his talent as his Metamorphoses, a massive volume of mythological stories of transformation. Throughout the Metamorphoses, art and nature serve as unifying themes and are present in some capacity in each myth Ovid recounts. In particular, art and nature are prevalent in the myth of Pygmalion, a sculptor who falls in love with his ivory creation. An important contrast develops between art and nature in this story, and that contrast speaks to how the senses are woven into both. Roman literature is fond of treating the subjects of art and nature, and their contrasting figures appear again and again in the best works of the Ancient World. These two didactic terms are often used in elegiac poetry as a means of deciphering the interwoven relationships among the poet, lover, and girl (poeta, amator, and puella).1 The poet and the lover are one in the same, as the poet attempts to express the love and the experience of the beloved (i.e., the puella) to his reader. There is also, however, a sense of lament, as in all elegiac poetry, as the beloved has an unattainable quality that eventually leaves the poet/lover in despair. The girl, more specifically Pygmalion’s own beloved,2 exemplifies the erotic nature displayed in Ovid’s version of elegiac poetry and the grappling of the role that the artist plays in shaping his own art. -
George Bernard Shaw in Context Edited by Brad Kent Frontmatter More Information
Cambridge University Press 978-1-107-04745-7 - George Bernard Shaw in Context Edited by Brad Kent Frontmatter More information GEORGE BERNARD SHAW IN CONTEXT When Shaw died in 1950, the world lost one of its most well-known authors, a revolutionary who was as renowned for his personality as he was for his humour, humanity, and rebellious thinking. He remains a compelling figure who deserves attention not only for how influential he was in his time but also for how relevant he is to ours. This collection sets Shaw’s life and achievements in context, with forty-two chapters devoted to subjects that interested him and defined his work. Contributors explore a wide range of themes, moving from factors that were formative in Shaw’s life, to the artistic work that made him most famous and the institutions with which he worked, to the political and social issues that consumed much of his attention, and, finally, to his influence and reception. Presenting fresh material and arguments, this collection will point to new direc- tions of research for future scholars. brad kent is Associate Professor of British and Irish Literatures at Université Laval and was Visiting Professor at Trinity College Dublin in 2013–14. His recent publications include a critical edition of Shaw’s Mrs Warren’s Profession (2012), The Selected Essays of Sean O’Faolain (forthcoming), and essays in University of Toronto Quarterly, Modern Drama, ARIEL: A Review of International English Literatures, English Literature in Transition, Irish University Review, and The Oxford Handbook of Modern Irish Theatre. He is also the programme director of the Shaw Symposium, held annually at the Shaw Festival in Niagara-on-the-Lake, Canada. -
My Fair Lady
TEACHER RESOURCE GUIDE Teacher Resource Guide by Sara Cooper LINCOLN CENTER THEATER AT THE VIVIAN BEAUMONT André Bishop Adam Siegel Producing Artistic Director Hattie K. Jutagir Managing Director Executive Director of Development & Planning in association with Nederlander Presentations, Inc. presents LERNER & LOEWE’S Book and Lyrics Music Alan Jay Lerner Frederick Loewe Adapted from George Bernard Shaw’s play and Gabriel Pascal’s motion picture “Pygmalion” with Lauren Ambrose Harry Hadden-Paton Norbert Leo Butz Diana Rigg Allan Corduner Jordan Donica Linda Mugleston Manu Narayan Cameron Adams Shereen Ahmed Kerstin Anderson Heather Botts John Treacy Egan Rebecca Eichenberger SuEllen Estey Christopher Faison Steven Trumon Gray Adam Grupper Michael Halling Joe Hart Sasha Hutchings Kate Marilley Liz McCartney Justin Lee Miller Rommel Pierre O’Choa Keven Quillon JoAnna Rhinehart Tony Roach Lance Roberts Blair Ross Christine Cornish Smith Paul Slade Smith Samantha Sturm Matt Wall Michael Williams Minami Yusui Lee Zarrett Sets Costumes Lighting Sound Michael Yeargan Catherine Zuber Donald Holder Marc Salzberg Musical Arrangements Dance Arrangements Robert Russell Bennett & Phil Lang Trude Rittmann Mindich Chair Casting Hair & Wigs Production Stage Manager Musical Theater Associate Producer Telsey + Company Tom Watson Jennifer Rae Moore Ira Weitzman General Manager Production Manager Director of Marketing General Press Agent Jessica Niebanck Paul Smithyman Linda Mason Ross Philip Rinaldi Music Direction Ted Sperling Choreography Christopher Gattelli Directed by Bartlett Sher The Jerome L. Greene Foundation is the Lead Sponsor of MY FAIR LADY. Major support is also generously provided by: The Blanche and Irving Laurie Foundation • Florence Kaufman The New York Community Trust - Mary P. Oenslager Foundation Fund • The Ted & Mary Jo Shen Charitable Gift Fund The Bernard Gersten LCT Productions Fund • The Peter Jay Sharp Foundation’s Special Fund for LCT with additional support from the National Endowment for the Arts.