The Devil's Disciple by George Bernard Shaw

Total Page:16

File Type:pdf, Size:1020Kb

The Devil's Disciple by George Bernard Shaw The Devil's Disciple by George Bernard Shaw Audience Guide researched and written by the Education Department of The Shakespeare Theatre of New Jersey The Shakespeare Theatre of New Jersey THE DEVIL’S DISCIPLE: Audience Guide InThis Guide • About Shaw ............................................................................................................................................................... 2 • A Synopsis ..............................................................................................................................................................3-4 • Shaw and The Devil’s Disciple ................................................................................................................................... 5 • The Devil’s Disciple: A History of the Play ................................................................................................................. 6 • What is a Shavian Play? ............................................................................................................................................ .7 • Who’s Who? ............................................................................................................................................................ ..8 • Glossary of Words and Terms ....................................................................................... .............................................9 • Commentary and Criticism ...................................................................................................................................... 10 • In This Production .................................................................................................................................................. .11 • Shaw Online .......................................................................................................................................................... .12 • Other Works by Shaw ............................................................................................................................................. .13 • Sources and Further Reading .................................................................................................................................. .14 1 The Shakespeare Theatre of New Jersey THE DEVIL’S DISCIPLE: Audience Guide About George Bernard Shaw was born on July 26, 1856 to a lower-middle class family in Dublin. Despite being a poor student, Shaw finished his public Shaw eventually became very wealthy from the royalties of his plays. He schooling at the age of 15. Before he reached the age of 16, his parents stayed active in the Fabian Society, in city government, on committees separated, and Shaw decided to live with his father in Dublin where he dedicated to ending dramatic censorship, and in establishing a subsidized received a job as a clerk in an estate office. In 1876, at the age of 20, he National Theatre. moved to London to live with his mother, whose financial support allowed him to follow his literary aspirations and publish his first five novels (all of The outbreak of World War I in 1914 brought on a dark period in Shaw’s life. which were completely unsuccessful). He published a series of newspaper articles that were heavily infused with anti-war sentiment, which made him tremendously unpopular. His reputation Shaw politically identified as a Socialist in 1882, and co-founded the Fabian took a critical blow, and rumors circulated that he would be tried for treason. Society in 1884, this was a society that promoted the rise of a democratic He wrote only one major play during the war years, Heartbreak House, socialist state in Great Britain rather than a monarchy. Despite his stammer through which he channeled his bitterness and despair about British politics and fear of public speaking, he took to the soapbox and developed an and society. aggressive, engaging manner of speaking, which later lent itself well to his writing. After World War I ended, Shaw set to rebuild his reputation with a series of five plays about “creative evolution.” In 1925, Shaw was awarded the Nobel In London, Shaw worked as an art critic, then as a music critic, and finally, Prize for Literature, no doubt prompted by the recent success of his 1923 from 1895-1898 as a theatre critic. After recovering from a serious illness in play Saint Joan, which was widely considered one of his greatest works. He 1898, Shaw resigned as a critic and moved out of his mother’s house to marry accepted the award at his wife’s behest, but only in title; Shaw declined the Charlotte Payne-Townshend. money offered along with it, asking that it instead be used to translate August Strindberg’s works into English. His career as a playwright began in 1891 with Widowers’ Houses, which he wrote for the Independent Theatre, a company dedicated to producing New Shaw lived the rest of his life as an international celebrity of sorts. He Drama (Realism and Naturalism) as inspired by Henrik Ibsen in Germany. traveled, remained active in politics, and continued to write over a dozen Widowers’ Houses had begun years earlier as a collaboration with his friend more plays (he wrote 50 plays in his lifetime, as well as essays, short stories, and critic William Archer – Archer had given up on the collaboration when and novels). In 1943, his wife Charlotte passed away. Shaw himself died in Shaw’s political views overwhelmed his attempts at writing a “well-made 1950 at the age of 94 after falling from a ladder while trimming a tree on his play.” Shaw wrote nearly a dozen more plays over the next 12 years. Few of property. his plays, however, were actually produced until 1904 when Harley Granville Barker took over the management of the Court Theatre. Over the next three In his will, Shaw left a large part of his estate to a project to revamp the seasons, Barker produced ten of Shaw’s plays. Over the next decade, all but English alphabet; the project was ultimately unsuccessful. His estate was one of Shaw’s plays was produced by Barker, Barker’s friends, and in other further divided among the National Gallery of Ireland, the British Museum, experimental theaters around England. and the Royal Academy of Dramatic Art. 2 The Shakespeare Theatre of New Jersey THE DEVIL’S DISCIPLE: Audience Guide ASynopsis Please note: Below is a full summary of the play. If you prefer not to spoil the plot, consider skipping this section. The play begins in Websterbridge, New Hampshire just before dawn with the other men that they will be in danger, because the British will want Mrs. Anne Dudgeon waiting in front of the fire and a young girl asleep to hang an upstanding citizen in order to shock the community into on the couch. Mrs. Dudgeon’s youngest son, Christy, comes home and behaving. The family dismisses his warnings as they depart. discovers the young girl is Essie, the illegitimate child of his Uncle Peter. Peter has just been hung by the British troops for being a traitor to King Later that evening, Judith waits anxiously at home for her husband’s George III. Christy has returned to report that his father has also died. The return. She has been deeply bothered by Dick’s comments at the gathering minister, Mr. Anthony Anderson, arrives to inform Mrs. Dudgeon that her earlier. Anderson enters and calms his wife; she promises to be brave. husband made a new will just before his death. He also informs her that He tells her that he has invited Dick to their home to talk. Anderson her reckless and renegade son, Richard “Dick” Dudgeon, attended the is convinced that Dick is in danger of being hung, and Anderson is hanging and will be present at the reading of the will later that morning. determined to make Dick understand the danger. Judith is resistant, stating Mrs. Dudgeon refuses to accept Anderson's consolation and states that how much she despises him. Shortly after Dick arrives, Anderson is called she has lost respect for him ever since he married for love, "as the human away to attend to Mrs. Dudgeon, who has fallen ill. Anderson asks Dick heart is deceitful and not to be trusted". Mr. Anderson leaves to give Mrs. to stay at his house until he returns. Dick and Judith are left alone and, Dudgeon time to prepare her home for visitors. though they argue at first, they soon begin to warm up to each other in a more kind manner. Mrs. Judith Anderson, the minister’s wife, arrives unexpectedly to help Mrs. Dudgeon. Mrs. Anderson is greeted coldly but politely and is asked Outside, there is a commotion and a knock at the door. The British to watch the door while Mrs. Dudgeon changes. Judith and Essie discuss soldiers arrive to take Anderson away, just as Dick predicted. They mistake what it means to be a good Puritan girl and how Essie is expected to Dick for Anderson, and Dick plays along. He puts on Anderson’s coat behave at the reading of the will. The rest of the family, Mr. Anderson, and kisses Judith goodbye, insisting that she not tell her husband what and the family's lawyer arrive for the reading of the will. Dick Dudgeon has happened or to allow Anderson to rescue him. Judith faints at the arrives, and the tensions between Dick and the family become clear. The kiss, and Dick and the soldiers leave. Anderson returns and wakes his will is read, and the whole inheritance is given to Dick, besides some wife, who is terribly distraught by the events that have transpired. Essie small allowances made for Christy and Mrs. Dudgeon. Dick immediately arrives, sent by Dick to come check on Judith. Judith breaks down
Recommended publications
  • Shaw's Comedy, Language Arts: 5113.90
    DOCUMENT RESUME ED 089 331 CS 201 143 TITLE Shaw's Comedy, Language Arts: 5113.90. INSTITUTION Dade County Public Schools, Miami, Fla. PUB DATE 72 NOTE 20p.; Authorized course of instruction for the Quinmester Program EDRS PRICE MF-$0.75 HC-$1.50 PLUS POSTAGE DESCRIPTORS Comedy; Course Content; *Course Descriptions; *Drama; English Instruction; *Language Arts; *Literary Criticism; Secondary Education; Teaching Guides IDENTIFIERS Minicourses; *Quinmester Program; Shaw (George Bernard) ABSTRACT This guide provides the teacher with strategies to aid students in examining five representative plays by Bernard Shaw and in comparing his comedy with the comic art of Oscar Wilde, Richard Sheridan, Ben Monson, and William Shakespeare. Performance objectives include isolating elements which pertain to the life and times of Shaw, delineating aspects which typify Shavian comedy, and comparing Shawls techniques with those of other comic masters. Also included are ',Course Content,,, which contains a rationale for the course and presents the subject matter range; "Teaching Strategies," which suggests activities, techniques, and materials for use in the classroom; and "Student and Teacher Resources,i, which lists state-adopted textbooks, supplementary materials, and films. (BE) U S OEPARTMENT OF HEALTH, EDUCATION IWEVFARE NATIONAL INSTITUTE OF EDUCATION THIS DOCUMENT HAS SEEN REPRO DUCEO EXACTLY AS RECEIVED FROM THE PERSON OR ORGANIZATION ORIGIN ATING IT PO.NTS OF VILA OR OPINIONS STATED 00 NOT NECESSARILY REPRE SENT OFFICIAL NA1 IONAL INSTITUTE OF EDUCATION POSITION OR POLICY AUTHORIZED COURSE OF INSTRUCTION FOR THE I I IV4fe1/45><,<\ rri LANGUAGE ARTS Shaw's Comedy 5113.90 cos 5114.163 cm, 5115.178 5116.185 'DIVISION OF INSTRUCTIOW 1971 SHAW'S COMEDY 5113.90 5114.163 5115.178 5116.185 Language Arts Written for the DIVISION OF INSTRUCTION Dade County Public Schools Miami* Florida 1972 DADE COUNTY SCHOOL BOARD Mr.
    [Show full text]
  • {PDF} the First Quarto of Hamlet 1St Edition Ebook
    THE FIRST QUARTO OF HAMLET 1ST EDITION PDF, EPUB, EBOOK William Shakespeare | 9780521653909 | | | | | The First Quarto of Hamlet 1st edition PDF Book The Murder of Gonzago is played before the assembled court, but is interrrupted when Claudius suddenly rises and leaves. This is the only modernised critical edition of the quarto in print. Scarce thus. The First Quarto of Hamlet. A handful of sources contributed significantly to the creation of Hamlet. King Richard II. Condition: Very Good. The first critic of the , first Spanish translation of Shakespeare's Hamlet. British Library copies of Hamlet contains detailed bibliographic descriptions of all the quarto copies of the play. Great Neck, N. Perhaps most crucially, Amleth lacks Hamlet's melancholy disposition and long self-reflexive soliloquies, and he survives after becoming king" British Library. Nevertheless, there is some evidence that Shakespeare did at least consult Saxo. There is an entire scene between Horatio and Gertrude in which Horatio tells her that Hamlet has escaped from the ship after discovering Claudius' plan to kill him. Protected under mylar cover. Published by Printed for P[hilip] C[hetwinde], London Theatrical adaption. Some scenes take place at a different point in the story — for example Hamlet's " To be, or not to be " soliloquy occurs in Act Two, immediately after Polonius proposes to set up an "accidental" meeting between Hamlet and Ophelia. According to the title page, the play was printed 'as it is now acted at His Highness the Duke of York's Theatre. Namespaces Article Talk. Occasional neat underlinings and scholarly notes, some minor marginal wormholes.
    [Show full text]
  • 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
    [Show full text]
  • Joan of Arc in History and in Shaw Department of Enclish
    Joan of Arc in history and in Shaw Item Type text; Thesis-Reproduction (electronic) Authors Covey, Jewyl Monica, 1925- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 30/09/2021 14:04:43 Link to Item http://hdl.handle.net/10150/551296 JOAN OF ARC IN HISTORY AND IN SHAW by Jewyl Covey A Thesis Submitted to the Faculty of the DEPARTMENT OF ENCLISH In Partial Fulfillment of the Requirements For the Degree of . ^ MASTER OF ARTS In the Graduate College UNIVERSITY OF ARIZONA 1957 3 flu to -too S'? 3fi 5 od &Ovd n s i 1 3 STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from ttiis thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quota­ tion from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in their judgment the proposed use of the material is in the interests of scholar­ ship. In all other instances, however, permission must be obtained from the author.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Hamlet and Saint Joan
    FOR IMMEDIATE RELEASE Contact: Ami Bennitt 617.797.8267, [email protected] ARTSEMERSON WELCOMES BEDLAM’S HAMLET AND SAINT JOAN IN REPERTORY | MARCH 7-25, 2018 EMERSON CUTLER MAJESTIC THEATRE, BOSTON ------------ ON-STAGE SEATS JUST ADDED -- TICKETS ON SALE NOW ------------ The Press Performance for Hamlet is Thursday, March 8, 2018 at 7:30pm The Press Performance for Saint Joan is Saturday, March 10, at 2:00pm email [email protected] for tickets, more information, images, and select interviews [Boston, MA—February 2, 2018] ArtsEmerson, Boston’s leading presenter of contemporary world theatre, proudly welcomes New York’s Bedlam for Hamlet and Saint Joan in repertory. The two productions feature a brand new cast of 4 actors, playing a total of 49 characters for two riveting, stripped down, stagings, both directed by Bedlam founder Eric Tucker. The productions run three weeks, March 7 through 25, 2018 at the Emerson Cutler Majestic Theatre, located at 219 Tremont Street in Downtown Boston. Tickets range from $20-80, and may be purchased online at www.ArtsEmerson.org, by phone at 617.824.8400, or in person at the box office. Student, senior and group discounts are available. Bedlam’s Hamlet. About Hamlet Prince Hamlet is depressed. Having been summoned home to Denmark to attend his father’s funeral, he is shocked to find his mother already remarried — to his father’s brother, Claudius. Worse still, Claudius has had himself crowned king despite the fact that Hamlet is heir to the throne. No wonder Hamlet suspects foul play. Bedlam brings their unique performance style to Shakespeare’s greatest play — arguably the greatest play in the English language — and four actors perform all 25 roles! Click here to 1 view the video trailer: https://youtu.be/A-sDIBflIFI.
    [Show full text]
  • The Operations of the Military Service Tribunals in the East Central
    Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. The Tool and Instrument of the Military? The Operations of the Military Service Tribunals in the East Central Division of the West Riding of Yorkshire and those of the Military Service Boards in New Zealand, 1916-1918 A thesis presented in partial fulfilment of the requirements for the degree of Doctor of Philosophy in History at Massey University David Littlewood 2015 i Abstract The Military Service Acts that implemented conscription in Great Britain and New Zealand during 1916 permitted appeals for exemption to a Military Service Tribunal or Military Service Board respectively. Although claims lodged on the grounds of hardship or occupation were by far the most common, historians have overwhelmingly focused on that distinct minority of individuals who cited conscientious objections. Furthermore, there has been no attempt to compare the structure, or the workings, of the exemption systems in these two countries. By employing a ‘British World’ approach, this thesis compares the operations of the Tribunals in the East Central Division of the West Riding of Yorkshire with those of the Boards across New Zealand. It investigates the relationship between the appeal bodies and their respective governments and militaries, to assess how far each claim was judged on its merits. It also analyses the appointment of personnel and the attitudes that the Tribunal and Board members adopted during their hearings.
    [Show full text]
  • 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
    [Show full text]
  • The One-Line Review Roxy
    Share Report Abuse Next Blog» Create Blog Sign In The One-Line Review A concise guide to the cinematic and televisual arts Search Roxy (2010) powered by Iain Stott USA Short Film Writer/Director/Cinematographer: Shirley Petchprapa A...B..C...D...E...F...G..H...I J...K...L..M...N...O...P..Q..R Cast: Damien Puckler, Roxy Puckler S...T...U..V...W..X...Y...Z There are echoes of J.D. Salinger’s A Perfect Day for Bananafish (1948) in Shirley Petchprapa’s intensely sensual and ethereally The Year in Film beautiful self-financed short film, which wallows in the poetry of the Play for Today (1970-1984) every day, finding the beauty in acts as simple as a man watching Obscure, Forgotten, Unloved television, running a bath, and even just cleaning his teeth, whilst his Beyond the Canon dog, Roxy – the film’s real star – lolls around with effortless elegance. The 50 Greatest Films Iain.Stott 1000 Essential Films Hidden Gems Films of the Decade Lists, Collections, Top Tens, Home Older Post etc The Large Association of Movie Blogs LABELS Adam Elliot (5) Alan Bennett (7) Alan Bleasdale (2) Alan Clarke (5) Alastair Sim (4) Alec Guinness (3) Alexander Mackendrick (1) Alfred Hitchcock (7) Algeria (1) Alison Steadman (5) Amy Adams (3) Andrew Dickson (3) Angus MacPhail (3) Animated Feature Documentary (1) Animated Feature Film (20) Animated Short Film (21) Animated Short Televsion Film (1) Anthony Dod Mantle (6) Apichatpong Weerasethakul (2) Argentina (10) Arthur Askey (3) Astaire and Rogers (2) Atom Egoyan (4) Audrey Hepburn (1) Australia (18) Austria (14)
    [Show full text]
  • Harriet Walter
    www.hamiltonhodell.co.uk Harriet Walter Talent Representation Telephone Christian Hodell +44 (0) 20 7636 1221 [email protected], Address [email protected], Hamilton Hodell, [email protected] 20 Golden Square Elizabeth Fieldhouse London, W1F 9JL, [email protected] United Kingdom Television Title Role Director Production Company Caroline, Countess of Carnival Film & BELGRAVIA John Alexander Brockenhurst Television/Epix/ITV Jessica M. Thompson/Jonathan THE END Edie Henley See Saw Films/Sky Atlantic Brough THE SPANISH PRINCESS Margaret Beaufort Birgitte Stærmose All3 Media/Starz SUCCESSION Series 1 & 2 Nominated for the Best Guest Actress in a Drama Series Award, Lady Caroline Collingwood Various HBO Primetime Emmy Awards, 2020 PATRICK MELROSE Princess Margaret Edward Berger Showtime/Sky Atlantic BLACK EARTH RISING Eve Ashby Hugo Blick BBC/Netflix FLOWERS Hylda Will Sharpe Kudos/Channel 4 CALL THE MIDWIFE Sister Ursula Various BBC BLACK SAILS Marilyn Guthrie Robert Levine Starz THE CROWN Clementine Churchill Stephen Daldry Netflix LONDON SPY Claire Jakob Vebruggen BBC THE ASSETS Jeanne Vertefeuille Various ABC DOWNTON ABBEY Lady Shackleton Various Carnival LAW AND ORDER: UK Natalie Chandler Various Kudos BY ANY MEANS Sally Walker Menhaj Huda Red Planet Productions HEADING OUT Angela Natalie Bailey Red Production Company Oxford Film & Television/BBC SIMON SCHAMA'S SHAKESPEARE Actress Ashley Gething Worldwide THIS SEPTEMBER Isobel Balmerino Giles Foster Gate Television HUNTER ACC Jenny Griffin Colm McCarthy BBC A SHORT STAY IN SWITZERLAND Clare Simon Curtis BBC LITTLE DORRIT Mrs. Gowan Dearbhla Walsh/Adam Smith BBC AGATHA CHRISTIE'S POIROT: CAT AMONGST THE Mrs Bulstrode James Kent ITV PIGEONS 10 DAYS TO WAR Anne Campbell David Belton BBC BALLET SHOES Dr.
    [Show full text]
  • 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.
    [Show full text]