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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 -
Pygmalion (Enriched Classics)
Thank you for purchasing this Simon & Schuster eBook. Join our mailing list and get updates on new releases, deals, bonus content and other great books from Simon & Schuster. CLICK HERE TO SIGN UP or visit us online to sign up at eBookNews.SimonandSchuster.com CONTENTS INTRODUCTION CHRONOLOGY OF GEORGE BERNARD SHAW’S LIFE AND WORK HISTORICAL CONTEXT OF Pygmalion PYGMALION PREFACE TO Pygmalion ACT I ACT II ACT III ACT IV ACT V SEQUEL NOTES INTERPRETIVE NOTES CRITICAL EXCERPTS QUESTIONS FOR DISCUSSION SUGGESTIONS FOR THE INTERESTED READER Acknowledgment is made to The Society of Authors on behalf of the Bernard Shaw Estate for permission to reprint Pygmalion. A NOTE ABOUT THE TEXT Readers will notice numerous variations from standard American usage in spelling, punctuation, contractions, etc. To have edited these variations would have destroyed not only the authenticity of the text, but an insight into Shaw’s lifelong contempt for the restraints of convention, even when they applied in so mildly a controversial area as writing mechanics. The Editors INTRODUCTION Pygmalion: GALATEA TALKS BACK The original story of Pygmalion is drawn from Greek mythology. A sculptor who mistrusted the virtue of women, Pygmalion kept to himself, devoting himself to his art. One day he created a statue of a woman. She was so beautiful, and the sculptor so lonely, that he fell in love with his creation and prayed to the goddess Aphrodite to give him a wife who resembled the statue. Instead, the goddess brought the statue itself to life. The ancient writer Apollodorus, telling his earlier version of the myth, called this statue-turned-woman Galatea. -
Shaw Bernard Eng 0807.Pdf
qwertyuiopasdfghjklzxcvbnmqwerty uiopasdfghjklzxcvbnmqwertyuiopasd fghjklzxcvbnmqwertyuiopasdfghjklzx cvbnmqwertyuiopasdfghjklzxcvbnmq wertyuiopasdfghjklzxcvbnmqwertyui opasdfghjklzxcvbnmqwertyuiopasdfg hjklzxcvbnmqwertyuiopasdfghjklzxcBernard Shaw vbnmqwertyuiopasdfghjklzxcvbnmq(1856 – 1950) wertyuiopasdfgA hjklzxcvbnmqwertyuiBibliography opasdfghjklzxcvbnmqwertyuiopasdfg hjklzxcvbnmqwertyuiopasdfghjklzxc vbnmqwertyuiopasdfghjklzxcvbnmq wertyuiopasdfghjklzxcvbnmqwertyui opasdfghjklzxcvbnmqwertyuiopasdfg hjklzxcvbnmrtyuiopasdfghjklzxcvbn mqwertyuiopasdfghjklzxcvbnmqwert yuiopasdfghjklzxcvbnmqwertyuiopas dfghjklzxcvbnmqwertyuiopasdfghjklz xcvbnmqwertyuiopasdfghjklzxcvbnm qwertyuiopasdfghjklzxcvbnmqwerty Bernard Shaw (1856 –1950) George Bernard Shaw (26 July 1856 Ŕ 2 November 1950) was born in Dublin, the son of a civil servant. His education was irregular, due to his dislike of any organized training. After working in an estate agent's office for a while, he moved to London as a young man (1876), where he established himself as a leading music and theatre critic in the eighties and nineties and became a prominent member of the Fabian Society, for which he composed many pamphlets. He began his literary career as a novelist; as a fervent advocate of the new theatre of Ibsen (The Quintessence of Ibsenism, 1891) he decided to write plays in order to illustrate his criticism of the English stage. His earliest dramas were called appropriately Plays Pleasant and Unpleasant (1898). Among these, Widower's Houses and Mrs. Warren's Profession savagely -
STMBOLISM M MODERN ENGLISH DRAMA
fcrj iU ^ !S. STMBOLISM m MODERN ENGLISH DRAMA BY KATHARINE J. WORTH, M,A. ( BEDFORD COLLEGE, UNIVERSITY OP LONDON ) P k 4. ProQuest Number: 10097991 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest 10097991 Published by ProQuest LLC(2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Foreword. The title 'Symhollsm in Modem English Drama’ may appear somewhat misleading in view of the scope of this thesis. It has "been preferred, for the sake of neatness, to the clumsier, ’Symbolism in Drama written in the English Language’, which would in fact he a more accurate description since it includes the Irish and American contribution. A considerable proportion of this study has been devoted to the work of Ibsen, Strindberg and Maeterlinck, since nearly all subsequent developments must be referred back to them either by way of comparison or contrast. Quotations from Maeterlinck’s work are given in the original, those from other foreign drama in the standard translation. Dates of plays are those of the works’ first appearance, whether in production or publication: when relevant, attention has been called to any marked discrepancy between dates of writing and production or publication. -
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. Critical Works: Monographs and Essay Collections 10 F. Online Monographs 15 G. Translated Monographs 15 H. Foreign-Language Monographs 16 I. Scholarly Editions of Shaw’s Plays 18 J. Reference Works 19 K. Bibliographies 19 L. Websites 20 M. Miscellanea 21 compiled by Michel Pharand last updated 1 January 2021 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. -
Abba, Marta, 303 Abbey Players, 187 Abbey Theatre, Dublin, 113, 183
Index Abba, Marta, 303 Allgood, Sara, 239 Abbey Players, 187 Amateur Boxing Championship, 49 Abbey Theatre, Dublin, 113, 183, 186, Amateur Musical Society, Dublin. see 188, 215, 220, 222, 230, 235, 354, New Philharmonic Society,The, 358, 361, 369, 373, 394 Dublin Abbey Theatre Company, 214, 215, American Academy of Political Science, 218 292 Academy, The, London, 93, 140 Anarchist, The, London, 57 Achurch, Janet, 80, 82, 85, 88, 90, 96, Ancoats Brotherhood, 129, 152, 172 98, 102, 104, 109, 112, 115, 117, Anderson, Sherwood, 271 118, 119, 120, 121, 122, 123, 124, Anna Morgan Studios for Art and 125, 126, 128, 129, 130, 133, 134, Expression, Chicago, 150 135, 147, 154, 221, 339, 346, 348, Anon, Reasons for Voting for The 364, 370, 383 Right Hon. Frederick Shaw: Being A Mrs Daintree’s Daughter, 112, 114 Familiar Address to the College Actors’ Orphanage, 166 Constituency, 9 Adams, Edith Goldstone, 109, 110 Antient Concert Rooms, Dublin, 31 Adams, Elbridge, 278 Arandora Star (ship), 301, 302 Adams, Francis William Lauderdale, Archer, Frances, 89, 90, 254, 260 109 Archer, William, 23, 42, 48, 49, 50, Tiberius, 110 53, 56, 57, 59, 61, 64, 66, 67, 77, Adelphi Play Society, 14, 195 88, 89, 95, 98, 102, 107, 109, Adelphi Terrace, London, 135, 137, 143, 111, 112, 118, 122, 124, 128, 145, 151, 162, 165, 169, 177, 195, 131, 146, 151, 210, 234, 249, 251, 210, 226, 230, 240, 241, 242, 249, 252, 278, 339–40, 342, 356, 359, 264 363, 370, 372, 379, 384, 386, 391, Adelphi Theatre, London, 124, 384 394 Adey, More, 126 The Green Goddess, 234 Adler, Friedrich, -
George Bernard Shaw 1 George Bernard Shaw
George Bernard Shaw 1 George Bernard Shaw George Bernard Shaw Shaw in 1936 Born 26 July 1856 Dublin, Ireland Died 2 November 1950 (aged 94) Ayot St Lawrence, Hertfordshire, England Occupation Playwright, critic, political activist Nationality Irish Alma mater Wesley College, Dublin Genres Satire, black comedy Literary movement Ibsenism, naturalism Notable award(s) Nobel Prize in Literature 1925 Academy Award for Writing Adapted Screenplay 1938 Pygmalion Signature George Bernard Shaw (26 July 1856 – 2 November 1950) was an Irish playwright and a co-founder of the London School of Economics. Although his first profitable writing was music and literary criticism, in which capacity he wrote many highly articulate pieces of journalism, his main talent was for drama, and he wrote more than 60 plays. He was also an essayist, novelist and short story writer. Nearly all his writings address prevailing social problems, but have a vein of comedy which makes their stark themes more palatable. Issues which engaged Shaw's attention included education, marriage, religion, government, health care, and class privilege. He was most angered by what he perceived as the exploitation of the working class. An ardent socialist, Shaw wrote many brochures and speeches for the Fabian Society. He became an accomplished orator in the furtherance of its George Bernard Shaw 2 causes, which included gaining equal rights for men and women, alleviating abuses of the working class, rescinding private ownership of productive land, and promoting healthy lifestyles. For a short time he was active in local politics, serving on the London County Council. In 1898, Shaw married Charlotte Payne-Townshend, a fellow Fabian, whom he survived. -
In the Plays of Bernard Shaw
International Journal of English Studies IJES UNIVERSITY OF MURCIA http://revistas.um.es/ijes Comparison and other “Modes of Order” in the plays of Bernard Shaw GUSTAVO A. RODRÍGUEZ-MARTÍN Universidad de Extremadura Received: 13 September 2011 / Accepted: 28 December 2011 ABSTRACT Bernard Shaw is widely regarded as one of the most important playwrights in the English language, ranking often second only to Shakespeare. This literary prominence, however, is not matched by a significant number of stylistic analyses, much more so in the case of linguistically-oriented ones. One of the few studies in Shaviana with a clear stylistic approach is Ohmann’s (1962) monograph. However, it focuses on Shaw’s non-dramatic writings and, due to its publication date, it does not utilize software tools for corpus stylistics. The purpose of this paper is to analyze Bernard Shaw’s use of certain comparative structures in his dramatic writings (what Ohmann calls ‘Modes of Order’ in his book) with the aid of the technical and methodological advances of computer-based stylistics, thus utilizing an innovative outlook because of the combination of stylistics and corpora research. KEYWORDS: Bernard Shaw, drama, stylistics, corpus stylistics, syntax RESUMEN Bernard Shaw está considerado uno de los dramaturgos más importantes en lengua inglesa de la historia, quizá sólo superado por Shakespeare. El escaso caudal de análisis estilísticos no se corresponde con el calibre de sus obras, en especial por la práctica inexistencia de estudios de corte lingüístico. Una de las escasas excepciones es el libro de Ohmann (1962), si bien sólo se centra en las obras no dramáticas de Shaw y, debido a su fecha de publicación, no utiliza herramientas digitales de estilística de corpus. -
Aristophanes in Performance 421 BC–AD 2007
an offprint from Aristophanes in Performance 421 BC–AD 2007 Peace, Birds and Frogs ❖ EDITED BY EDITH HALL AND AMANDA WRIGLEY Modern Humanities Research Association and Maney Publishing Legenda: Oxford, 2007 C H A P T E R 4 ❖ The English-Speaking Aristophanes 1650–1914 Edith Hall Introduction In Chs. 5 and 6 it will be seen that as early as the 1650s an Irishman could use Aristophanes to criticize English imperialism, while by the early nineteenth century the possibility was being explored in France of staging a topical adaptation of Aristophanes. In 1817, moreover, Eugène Scribe could base his vaudeville show Les Comices d’Athènes on Ecclesiazusae.1 Aristophanes became an important figure for German Romantics, including Hegel, after Friedrich Schlegel had in 1794 published his fine essay on the aesthetic value of Greek comedy.2 There Schlegel proposed that the Romantic ideals of Freedom and Joy (Freiheit, Freude) are integral to all art; since Schlegel regarded comedy as containing them to the highest degree, for him it was the most democratic of all art forms. Aristophanic comedy made a fundamental contribution to his theory of a popular genre with emancipatory potential.3 One result of the philosophical interest in Aristophanes was that in the early decades of the nineteenth century, until the 1848 revolution, the German theatre itself felt the impact of the ancient comic writer: topical Lustspiele displayed interest in his plays, which provided a model for German poets longing for a political comedy, for example the remarkable satirical trilogy Napoleon by Friedrich Rückert (1815–18).4 This international context illuminates the experiences undergone by Aristophanic comedy in England, and what became known as Britain consequent upon the 1707 Act of Union. -
The Papers of George Bernard Shaw (1856-1950) Parts 1-3
SHAW: The Papers of George Bernard Shaw (1856-1950) Parts 1-3 SHAW: THE PAPERS OF GEORGE BERNARD SHAW (1856-1950) From the British Library, London Part 1: Plays, Poems, Novels and Short Stories Part 2: Critical Writings, Essays and Fabian Society Material Part 3: Journalism, Lectures and Autobiographical Material Contents listing EDITORIAL INTRODUCTION CONTENTS OF REELS - PART 1 CONTENTS OF REELS - PART 2 CONTENTS OF REELS - PART 3 DETAILED LISTING - PART 1 DETAILED LISTING - PART 2 DETAILED LISTING - PART 3 SHAW: The Papers of George Bernard Shaw (1856-1950) Parts 1-3 Editorial Introduction Professor L W Conolly, FRSC, Department of English, Trent University, Canada When Bernard Shaw (his full name was George Bernard Shaw, but he disliked using George) celebrated his seventieth birthday in 1926 he was one of the most famous people in the world, if not the most famous. Winner of the Nobel Prize for Literature in 1925, he was renowned for his provocative political views and for plays such as Mrs Warren’s Profession, Arms and the Man, Candida, The Devil’s Disciple, Caesar and Cleopatra, Man and Superman, Major Barbara, The Doctor’s Dilemma, Misalliance, Pygmalion, Heartbreak House, the mammoth five-part Back to Methuselah, and Saint Joan. These and other Shaw plays had been performed not just throughout the English-speaking world, but in foreign-language productions in Europe, Asia, and South America. The world première of Pygmalion was in German (in Vienna) in 1913, and the controversial Mrs Warren’s Profession (written in 1893-94) was performed in Japan and China before the censor allowed the first public production in England in 1925. -
The Utopian Imagination of George Bernard Shaw: Totalitarianism and the Seduction of the Superman
The Utopian Imagination of George Bernard Shaw: Totalitarianism and the Seduction of the Superman Dissertation Presented in Partial Fulfillment of the Requirements of the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Matthew B. Yde, MA Graduate Program in the Department of Theatre The Ohio State University 2011 Dissertation Committee: Lesley Ferris, Advisor Richard Dutton Beth Kattelman Copyright by Matthew B. Yde 2011 Abstract Playwright George Bernard Shaw has a reputation as a humanitarian, an indefatigable seeker of justice and, in his own words, a ―world betterer.‖ But this reputation is difficult to reconcile with his support for the totalitarian regimes and dictators that emerged after the First World War, which is not so well known. This enthusiasm is usually dismissed as an expression of Shaw‘s well known propensity for comic exaggeration and hyperbole, his pugnacious rhetoric, his love of paradox, and especially his addiction to antagonizing the British political establishment. However, as I believe this dissertation proves, Shaw‘s support was genuine, rooted in his powerful desire for absolute control over the unruly and chaotic, in a deep psychological longing for perfection. Shaw expressed rigid control over his own bodily instincts, and looked for political rulers of strong will and utopian designs to exercise similar control over unruly social elements. It is occasionally stated that Shaw‘s support for totalitarianism grew out of his frustration with nineteenth century liberalism, which ineffectually culminated in a disastrous world war. Yet close analysis to two of Shaw‘s Major Critical Essays from the 1890s shows that even then Shaw expressed a desire for a ruthless man of action unencumbered by the burden of conscience to come on the scene and establish a new world order, to initiate the utopian epoch. -
2012 ISS Newsletter
2012 End-of-Year Newsletter Shaviana The Governing Council, International Shaw Society NEW ISS OFFICERS: Michael M O’Hara (Ball State U) succeeds L.W. Conolly as ISS President and Ellen Dolgin (Dominican INTERNATIONAL Executive Committee College) succeeds Jay R. Tunney as Vice-President. Our warm thanks to the outgoing officers for their service to Shaw studies and our best wishes to their successors! L.W. Conolly, SHAW SHAW BEHIND THE CAMERA: “Man and Cameraman,” a project at the London School of Economics, continues to catalogue Outgoing President the contents of Shaw’s approximately 20,000 photographs and negatives and 15 photograph albums. You can browse the catalogue Michael M. O’Hara, www.shawsociety.org at http://archives.lse.ac.uk/TreeBrowse.aspx?src=CalmView.Catalog&field=RefNo&key=SHAW%20PHOTOGRAPHS. For more Incoming President SOCIETY information, contact LSE Library archivist Sue Donnelly at [email protected] or go to www.lse.ac.uk/library/shawphotos. Jay R. Tunney, BOOKS ON SHAW published in 2012 include Shaw, Plato, and Euripides: Classical Currents in ‘Major Barbara’ (UP of Florida, Outgoing Vice-President under the general editorship of R.F. Dietrich) by Sidney P. Albert and Slaves of Duty and Tricks of the Governing Class: The Plays Ellen Dolgin, Since my message to the ISS when I became President three years ago was that I would like the of Bernard Shaw (ELT P) by Bernard F. Dukore. Forthcoming in 2013 is Shaw and Feminisms: On Stage and Off (UP of Florida) Incoming Vice-President “International” in our name to become more prominent, I suppose it is appropriate that at the ed.