Eliza's Awakening in Pygmalion
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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 -
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. -
Pygmalion Study Guide April 16
STUDY GUIDE 2004 CONTAINS ONTARIO CURRICULUM SUPPORT MATERIAL PYGMALION by Bernard Shaw Education Partner PRESENTS Pygmalion by Bernard Shaw This study guide for Pygmalion contains background informa- tion for the play, suggested themes and topics for discussion, and curriculum-based lessons that are designed by educators and theatre professionals. TABLE OF CONTENTS The lessons and themes for discussion are organized in mod- ules that can be used independently or interdependently ac- cording to your class’s level and time availability. The Players ..............................................................................3 The general information is on white paper and the lessons are on green. Running Time .........................................................................3 The Author..............................................................................4 THIS GUIDE WAS WRITTEN AND COMPILED BY DENIS The Characters ........................................................................5 JOHNSTON, DEBRA MCLAUCHLAN, AND JOHN SWEENEY. The Story .............................................................................6-7 ADDITIONAL MATERIALS WERE PROVIDED BY BARBARA WORTHY, JACKIE MAXWELL, AND SUE LEPAGE West End Gossip Sheet.........................................................8 Director’s Notes .....................................................................9 Classroom Application Before Attending the Play .............................................10-17 Pygmalion After Attending the Play................................................18-24 -
Women and Life Force in Shaw‟S „Widower's House‟ and „Man and Superman' Niraja Saraswat ABSTRACT Literature Can Be
Lapis Lazuli -An International Literary Journal (LLILJ) Vol.3/ NO.1/Spring 2013 Women and Life Force in Shaw‟s „Widower’s House‟ and „Man and Superman’ Niraja Saraswat ABSTRACT Literature can be seen as a barometer of the time, it holds the views and opinions dear to each author. George Bernard Shaw was a writer who did not care what waves he made because he wanted that turbulence. In his classic work „Man and Superman‟ Shaw used character interactions to voice his objections to common institutions. There is more to this play than a love story and a son‟s struggle for his father‟s approval. The present paper discusses the women in his two plays viz. Ann in „Man and Superman‟ and Blanche in „Widower‟s House‟ who pursue their heartthrobs to ensure the continuance of the race and its improvement through evolution. Since centuries, women have been looked down upon as the 'Object' and men the „Subject‟; selecting women for marriage and love without any conscious approach of knowing women's wish and will. Shaw has turned the table by giving his women characters an open platform to put their own choice of their mates. Romance in the plays of Thomas Robertson, Lapis Lazuli -An International Literary Journal (LLILJ) ISSN 2249-4529, Vol.3/ NO.1/Spring2013 URL of the Issue: http://pintersociety.com/vol-3-no-1spring-2013/ URL of the article: http://pintersociety.com/wp-content/uploads/2013/07/Niraja-Saraswat-11.pdf © www.pintersociety.com 1 Women and Life Force in Shaw‟s „Widower’s House‟ and „Man and Superman’ Arnold Bennett, Edward Knoblock, Edward Bulwer Lytton and James Sheridan Knowles etc. -
Under the Influence of Satire Introduction
DeMattio 1 Under the Influence of Satire By: Ashley DeMattio Introduction This thesis compares and contrasts the two plays, Lysistrata by Aristophanes and Mrs. Warren’s Profession by George Bernard Shaw, based on their political agendas through the literary form of satire; they are greatly influenced by the time period in which they lived, and express themselves through the female characters in their plays. Insight and further understanding of each play will be provided, and it will be demonstrated how the authors had a goal of starting specific conversations amongst their audiences. Though these conversations differ, Aristophanes and Shaw demonstrate the ability to politically and intellectually enlighten their audiences through pleasure. Aristophanes was a native of Greece during the first century B.C.E., and witnessed the cruel occurrences of the Peloponnesian War and the challenge to Greece’s political stability. In his play Lysistrata he took the idea of war and molded it into a battle of the sexes. The main idea of the play is that the women of Greece, both Athenians and Spartans, are seeking to end the war, and in order to do so they hold a sex strike. The sex strike is used as a way to intrigue the audience through humor and risqué references; the use of satire is amplified when he uses women as the dominant characters. The women hold the power in the play, and this makes the Athenian audience uneasy. This uneasiness is what Aristophanes wants to accomplish, and he puts the audience in a vulnerable state. Lysistrata is meant to warn the people of Greece; what he is warning against and how he goes about it will be further understood when the play is examined. -
The Image of Super Woman: a Portrayal of Woman in Bernard Shaw’S Pygmalion and the Millionairess
International Journal of Linguistics, Literature and Culture Available online at https://sloap.org/journals/index.php/ijllc/ Vol. 4, No. 6, November 2018, pages: 1~6 ISSN: 2455-8028 https://sloap.org/journals/index.php/ijllc/article/view/327 The Image of Super Woman: A Portrayal of Woman in Bernard Shaw’s Pygmalion and The Millionairess P. Neethi Mohan a b S.P. Suresh Kumar Article history: Abstract Socialism and Feminism stand first in the list of factors that influenced Shaw Received: 20 June 2018 in creating strong women characters that must have looked arrogant and brass Accepted: 30 August 2018 to the Victorian audience who had assigned a gentile and soft gender role to Published: 8 October 2018 women. Shaw not only has created assertive women characters but he has created men with an open mind to accept such a woman as part of their society. This creation of understanding and accommodating men has complemented Shaw’s women characters and has lent the space for them to Keywords: move freely and interact with utmost liberty. If Shaw had created men who Empowerment; had narrower views on gender equality and who are confirmative, Shaw Feminism, would not have created a truly explosive gender dynamics that has become Socialism, the hallmark of his plays. It is the influence of socialism and socialists which Understanding; empowered Shaw to create and present such advanced characters and Women images; environment in his plays. 2455-8028 ©Copyright 2018. The Author. This is an open-access article under the CC BY-SA license (https://creativecommons.org/licenses/by-sa/4.0/) All rights reserved. -
HEARTBREAK HOUSE by George Bernard Shaw Directed by John Going
2006—2007 SEASON HEARTBREAK HOUSE by George Bernard Shaw Directed by John Going CONTENTS 2 The 411 3 A/S/L & HTH 4 FYI 5 RBTL 6IRL 7 F2F 8 SWDYT? STUDY GUIDES ARE SUPPORTED BY A GENEROUS GRANT FROM CITIGROUP MISSOURI ARTS COUNCIL MIHYAP: TOP TEN WAYS TO STAY CONNECTED AT THE REP At The Rep, we know that life moves fast— 10. TBA Ushers will seat your school or class as a group, okay, really fast. so even if you are dying to mingle with the group from the But we also know all girls school that just walked in the door, stick with your that some things friends until you have been shown your section in the are worth slowing down for. We believe that live theatre is theatre. one of those pit stops worth making and are excited that 9. SITD The house lights will dim immediately before the you are going to stop by for a show. To help you get the performance begins and then go dark. Fight off that oh-so- most bang for your buck, we have put together immature urge to whisper, giggle like a grade schooler, or WU? @ THE REP—an IM guide that will give you yell at this time and during any other blackouts in the show. everything you need to know to get at the top of your 8. SED Before the performance begins, turn off all cell theatergoing game—fast. You’ll find character descriptions phones, pagers, beepers and watch alarms. If you need to (A/S/L), a plot summary (FYI), biographical information text, talk, or dial back during intermission, please make sure on the playwright (F2F), historical context (B4U), and to click off before the show resumes. -
The Myth of Pygmalion and Galatea
The Myth of Pygmalion and Galatea The myth of Pygmalion and Galatea is probably one of the most known stories in Greek Mythology. The myth of Pygmalion and Galatea is also one of the most influential and inspiring ancient Greek myths, and became the main theme for theatrical plays, movies and artistic paintings. Pygmalion the Sculptor Pygmalion was a talented Greek sculptor from Cyprus. After becoming disgusted by some local prostitutes, he lost all interest in women and avoided their company completely. Pygmalion saw women as flawed creatures and vowed never to waste any moment of his life with them. He dedicated himself to his work and soon created Galatea, a beautiful stature of a woman out of ivory. Ironically, the masterpiece of his life was this statue of a woman. Perhaps he sought to correct in marble the flaws he saw in women of flesh and blood. Pygmalion’s Statue Whatever the case, Pygmalion worked so long and with such inspiration on the statue of Galatea, that it became more beautiful than any woman that had ever lived or been carved in stone. As he finished the statue’s features, they became exquisitely lovely, and he found himself applying the strokes of hammer and chisel with increasing affection. When his chisel finally stopped ringing, there stood before him a woman of such perfection that Pygmalion, who had professed his disdain of all females, fell deeply in love. He would bring it gifts, caress it, kiss it and talk to it every day. He brought it gifts he thought women would enjoy, such as pretty seashells, beads, songbirds, baubles and flowers. -
George Bernard Shaw
PYGMALION By George Bernard Shaw A Penn State Electronic Classics Series Publication Pygmalion by George Bernard Shaw is a publication of the Pennsylvania State University. This Portable Document file is furnished free and without any charge of any kind. Any person using this document file, for any purpose, and in any way does so at his or her own risk. Neither the Pennsylvania State University nor Jim Manis, Faculty Editor, nor anyone associated with the Pennsylvania State University assumes any responsibility for the material contained within the document or for the file as an electronic transmission, in any way. Pygmalion by George Bernard Shaw, the Pennsylvania State University, Electronic Classics Series, Jim Manis, Faculty Editor, Hazleton, PA 18202-1291 is a Portable Document File produced as part of an ongoing student publication project to bring classical works of literature, in English, to free and easy access of those wishing to make use of them. Cover Design: Jim Manis Copyright © 2004 The Pennsylvania State University The Pennsylvania State University is an equal opportunity university. Shaw even to Englishmen. The reformer England needs PYGMALION today is an energetic phonetic enthusiast: that is why I have made such a one the hero of a popular play. By There have been heroes of that kind crying in the wilderness for many years past. When I became in- terested in the subject towards the end of the eigh- George Bernard Shaw teen-seventies, Melville Bell was dead; but Alexander J. Ellis was still a living patriarch, with an impressive 1912 head always covered by a velvet skull cap, for which PREFACE TO PYGMALION he would apologize to public meetings in a very courtly manner. -
Some Problematics of Bernard Shaw's Drama Regjina Gokaj
European Scientific Journal Some problematics of Bernard shaw's drama Regjina Gokaj University “Aleksandër Moisiu” Durres, Albania Abstract: If one considers the history of the British drama, the modern theatre was free to develop around the end of the nineteenth century. During the last two decades of that period and the very beginnings of the twentieth century it is well noticed the revitalization and a new dimension of the drama not only in Britain but throughout Europe. The playwrights started writing a new kind of drama away from the conventional one of the Victorian period. They started treating real problems of everyday life, leaving behind the myth of the hero. They were focused mostly in realistic concerns of social matters. One of the greatest representatives of this period who is known to have paved the way to Modern Theatre and considered as the master of the problem plays or drama of ideas is George Bernard Shaw. The elements of his drama, such as the paradox used for teasing, the ability of making people reflect by compelling them to laugh, the ability to show to the audience the other side of the truth etc. make him a very distinguished playwright. Introduction: The playwright Bernard Shaw was famous not only for his dramas, but as an essayist and art critic, poet and novelist. He is acknowledged as the greatest dramatist of British Literature after Shakespeare’s contribution to British Theatre. The upheaval of British drama comes out through Shaw’s counteractions of theatrical conventions and the realistic illustration of social concerns in his plays. -
Class and Gender in Bernard Shaw's Plays Unpleasant
RONALD PAUL “Guilty creatures sitting at a play”: Class and Gender in Bernard Shaw’s Plays Unpleasant In his pioneering study of the work of Henrik Ibsen, The Quintessence of Ibsenism (1891), Bernard Shaw outlined his own programme for a new kind of drama in Britain, one that would take as its critical starting-point the “discussion” plays of the Norwegian playwright. Plays should, in Shaw’s view, be written and performed, not primarily to entertain a theatre audience, but to involve it in a cathartic experience of personal and political transformation. According to Shaw, we are all “guilty creatures sitting at a play” (Shaw 1952:687) and the function of the dialogue on stage was to help shake us out of our sense of moral complacency. This was the great radical challenge which Ibsen’s work inspired Shaw to take up: to create a play of ideas and argument that would compel the audience to take sides: The technical novelties of the Ibsen and post-Ibsen plays are, then: first, the introduction of the discussion and its development until it so overspreads and interpenetrates the action that it finally assimilates it, making play and discussion practically identical; and, second, as a consequence of making the spectators themselves the persons of the drama, and the incidents of their own lives its incidents, the disuse of the old stage tricks by which audiences had to be induced to take an interest in unreal people and improbable circumstances, and the substitution of a forensic technique of recrimination, disillusion, and penetration through ideals to the truth, with a free use of all the rhetorical and lyrical arts of the orator, the preacher, the pleader, and the rhapsodist. -
PYGMALION Metamorphoses X.238-97
PYGMALION Metamorphoses X.238-97 From the beginning of time it would seem, at least from the male tive, man has quested for, and even sought to create, the perfect Vi: Robotics produced The Stepford Wives, Frankenstein stitched together a b . his monster, and Professor Henry Higgins fashioned his "fair lady" fro raggedy flower girl, Liza Doolittle, in Lerner and Loewe's delightful m an adaptation from George Bernard Shaw's Pygmalion. But Ovid, Shaw' ~ _ ultimate inspiration and our principal ancient literary source for the tale. provided us with a far more miraculous transfonnation. Offended b. profligacy of the daughters of Propoetus (who, for their impiety, were formed by Venus into prostitutes and then hardened into stone), the Cyp sculptor Pygmalion withdrew from all contact with women, living the life celibate and dedicating himself wholly to his art. Eventually he sculpted an . statue of a maiden more beautiful than any ever born, and then promptly L love with his own creation. The central panel of Ovid's narrative focuses in d on the artist's elegiac (and to some extent ritualistic) courtship of his i maiden and then, when the festival of Venus had arrived, on his prayer to . goddess that his own wife might be, if not the statue itself, then at least a wo in her likeness. In return for his piety, Venus grants Pygmalion's wish, revers' ...; both the process by which she had transformed the impious Propoetides and . - _ usual (human to sub-human) direction of metamorphosis in Ovid's poem: as sculptor kisses his "Sleeping Beauty," her skin grows warm and soft, her ve begin to pulse, a blush comes to her face (unlike the bloodless, shamel Propoetides), and she raises up her eyes to glimpse at once the light of bea and her lover's gaze.