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Bernard Shaw : The Philanderer before purchasing it in order to gage whether or not it would be worth my time, and all praised The Philanderer:
0 of 0 people found the following review helpful. Depicts the iintellectual atmosphere of the time very wellBy Walter StanleySome thirty years ago I was an avid reader of George Bernard Shaw's plays. This play is the first one I've read since then, I enjoyed his philosophical Prefaces even more than his plays. There was no Preface to this play. It was not one of his best, but it was still quite good. Shaw depicts a time when English culture was changing. Women were starting to realize that they were intellectually and emotionally equal to men. Two women in this play, and the men in their lives, show how they are dealing this change. Well worth reading.0 of 0 people found the following review helpful. Labors of LoveBy lgoneUniversal implications connecting close relationships, makes for this great play. Never settle for anything less than true love! Fine work by G.B. Shaw.0 of 0 people found the following review helpful. A minor and dated Shaw pieceBy Bill BakerAnother of Shaw's minor pieces - dated by now - how many in a modern audience would even know what a 'philanderer' is? - and probably rarely seen. Have you ever heard of it? I hadn't - but it's still worth a read since it is by one of the greatest playwrights of the20 th century.
George Bernard Shaw (26 July 1856 – 2 November 1950) was a Nobel-Prize and Oscar-winning Irish playwright, critic and socialist whose influence on Western theatre, culture and politics stretched from the 1880s to his death in 1950. Originally earning his way as an influential London music and theatre critic, Shaw's greatest gift was for the modern drama. Strongly influenced by Henrik Ibsen, he successfully introduced a new realism into English-language drama. He wrote more than 60 plays, among them Man and Superman, Mrs. Warren's Profession, Major Barbara, Saint Joan, Caesar and Cleopatra, and Pygmalion. With his range from biting contemporary satire to historical allegory, Shaw became the leading comedy dramatist of his generation and one of the most important playwrights in the English language since the 17th century.
“This is the indispensable version of one of Shaw’s most misunderstood plays. L.W. Conolly’s edition of The Philanderer finally makes Shaw’s original final act widely available for scholars and performers. Conolly provides the perfect biographical, historical, and philosophical source documents to decide whether or not Shaw was right to suppress his first ending?an important dramatic treatise on divorce laws and gender equality that is the foundation of later plays. Conolly is a sure-footed, amiable guide, illuminating the play’s production and reception history while providing the reader with all the tools she needs to understand why this ‘restored’ text is not simply a neglected curiosity, but instead a major event in the history of modern drama.” ? Lawrence Switzky, University of Toronto “L.W. Conolly’s excellent scholarship expertly guides both students and scholars through the tangled and fascinating history of Shaw’s controversial first draft of The Philanderer. Expressly prohibited by Shaw’s own will, the original third act was supposed to have been burned on the advice of a friend. Thankfully Shaw didn’t follow that advice, and Conolly offers a richly detailed, terrifically readable, and insightfully persuasive justification for going against Shaw’s will.” ? Michael M. O’Hara, Ball State UniversityNot until L.W. Conolly’s excellent edition of The Philanderer were we able to read Shaw’s original last act in printed pages. It has been worth waiting for…Conolly’s first-rate introduction includes an account of Shaw’s efforts to secure a production of The Philanderer and its production history. More importantly, it treats Shaw’s changes to the final act…Conolly’s explanatory footnotes are invaluable for teachers, directors, and actors as well as students.? Bernard F. Dukore, English Literature in Transition 1880?1920 From the Back Cover The second of Shaw’s “unpleasant” plays, written in 1893, published in 1898, but not performed until 1905, The Philanderer is subtitled “A Topical Comedy.” The eclectic range of topical subjects addressed in the play includes the influence of Norwegian playwright Henrik Ibsen on British middle-class social mores (the second act of The Philanderer is set in the fictional Ibsen Club), medical follies, the rise of the “New Woman,” and, in particular, the destructive impact of Victorian marriage and divorce laws. Just as Shaw’s other “unpleasant” plays, Widowers’ Houses and Mrs Warren’s Profession, call, respectively, for reform of laws that allow corrupt property owners to exploit the poor and for radical change to economic structures that drive women into prostitution, so The Philanderer makes the case for more liberal legislation to allow easier divorce?particularly for women?when marriages become irretrievably broken. Shaw’s attack on divorce laws becomes even clearer and stronger in the final act that he wrote for the play but discarded in favour of the version he published. The discarded version is published for the first time in this Broadview edition of the play. About the AuthorGeorge Bernard Shaw (26 July 1856 – 2 November 1950), known at his insistence simply as Bernard Shaw, was an Irish playwright, critic and polemicist whose influence on Western theatre, culture and politics extended from the 1880s to his death and beyond. He wrote more than sixty plays, including major works such as Man and Superman (1902), Pygmalion (1912) and Saint Joan (1923). With a range incorporating both contemporary satire and historical allegory, Shaw became the leading dramatist of his generation, and in 1925 was awarded the Nobel Prize in Literature. Born in Dublin, Shaw moved to London in 1876, where he struggled to establish himself as a writer and novelist, and embarked on a rigorous process of self-education. By the mid-1880s he had become a respected theatre and music critic. Following a political awakening, he joined the gradualist Fabian Society and became its most prominent pamphleteer. Shaw had been writing plays for years before his first public success, Arms and the Man in 1894. Influenced by Henrik Ibsen, he sought to introduce a new realism into English-language drama, using his plays as vehicles to disseminate his political, social and religious ideas. By the early twentieth century his reputation as a dramatist was secured with a series of critical and popular successes that included Major Barbara, The Doctor's Dilemma and Caesar and Cleopatra. Shaw's expressed views were often contentious; he promoted eugenics and alphabet reform, and opposed vaccination and organised religion. He courted unpopularity by denouncing both sides in the First World War as equally culpable, and although not a republican, castigated British policy on Ireland in the postwar period. These stances had no lasting effect on his standing or productivity as a dramatist; the inter-war years saw a series of often ambitious plays, which achieved varying degrees of popular success. In 1938 he provided the screenplay for a filmed version of Pygmalion, for which he received an Academy Award. His appetite for politics and controversy remained undiminished; by the late 1920s he had largely renounced Fabian gradualism and often wrote and spoke favourably of dictatorships of the right and left—he expressed admiration for both Mussolini and Stalin. In the final decade of his life he made fewer public statements, but continued to write prolifically until shortly before his death, aged ninety-four, having refused all state honours including the Order of Merit in 1946.
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