The Themes of Shavian Drama: a Brief Study
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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. -
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 -
The Hell Scene and Theatricality in Man and Superman
233 The Amphitheatre and Ann’s Theatre: The Hell Scene and Theatricality in Man and Superman Yumiko Isobe Synopsis: Although George Bernard Shaw’s Man and Superman (1903) is one of his most important dramatic works, it has seldom been staged. This is because, in terms of content and direction, there are technical issues that make it difficult to stage. In particular, Act Three features a dream in Hell, where four dead characters hold a lengthy philosophical symposium, has been considered independent of the main plot of John Tanner and Ann Whitefield. Tanner’s dream emphatically asserts its theatricality by the scenery, the amphitheatre in the Spanish desert where Tanner dozes off. The scene’s geography, which has not received adequate attention, indicates the significance of the dream as a theatre for the protagonist’s destiny with Ann. At the same time, it suggests that the whole plot stands out as a play by Ann, to which Tanner is a “subject.” The comedy thus succeeds in expressing the playwright’s philosophy of the Superman through the play-within-a- play and metatheatre. Introduction Hell in the third act of Man and Superman: A Comedy and a Philosophy (1903) by George Bernard Shaw turns into a philosophical symposium, as the subtitle of the play suggests, and this intermediate part is responsible for the difficulties associated with the staging of the play. The scene, called “the Hell scene” or “Don Juan in Hell,” has been cut out of performances of the whole play, and even performed separately; however, the interlude by itself has attracted considerable attention, not only from stage managers and actors, but also from critics, provoking a range of multi-layered examinations. -
Bernard Shaw: Profiling His Own ‘New Women’ in ‘Plays
© April 2021| IJIRT | Volume 7 Issue 11 | ISSN: 2349-6002 Bernard Shaw: Profiling his own ‘New Women’ in ‘Plays Pleasant’ and ‘Plays Unpleasant’ Shakuntala Mukherjee Department of English Literature, AMITY University Kolkata, Hooghly, India Abstract - Shaw was successful to shake men’s beliefs to lecture on Ibsen. Shaw was already familiar with the the foundation in all branches of life- be it science, Norwegian dramatist, having seen the London philosophy, economics, theology, drama, music, art, performance of ‘A Doll’s House’. The lecture became novel, politics, criticism, health, education, and what not. ‘The Quintessence of Ibsenism’. Shaw’s brilliant and George Bernard Shaw, who was regarded as a writer promising answers formed the contents of the without a moral purpose at the beginning of his career in literary circles, is today looked upon as a profound Saturday Review. It turned ‘Shaw’s attention to the thinker who saw the truth and revealed it through art. drama as a means of expression on the ideas crowding The brilliance of his dramatic technique and philosophy his mind’. His plays were the truth of life. Shaw’s aim is aptly illuminated by his unconventional art and as a dramatist was to understand everything around dramatic technique. him and through his plays he tried to convey what he Shaw through his drama brought things like realism and understood. He made efforts to enable the public to idealism, individualism and socialism, together. The understand his vision. Regarding this aspect of Shaw; ‘New Woman’ introduced by Shaw; was treated with Purdom writes: contempt or fear as it discussed on the age-old ‘He wrote plays to delight his audiences and to change assumptions on how a man or woman should be. -
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. -
2395-1885 ISSN -2395-1877 Research Paper Impact Factor
IJMDRR Research Paper E- ISSN –2395-1885 Impact Factor - 2.262 Peer Reviewed Journal ISSN -2395-1877 THE UNCONVENTIONAL WOMEN IN THE PLAYS OF GEORGE BERNARD SHAW S.Jeyalakshmi Assistant Professor of English, PG Department of English (UA),Kongunadu Arts & Science College, Coimbatore . George Bernard Shaw was a committed socialist, a successful, controversial dramatist, an inspired theatre director of his own work and an influential commentator on contemporary music, drama and fine art. In all his endeavors he demonstrated an indefatigable zeal to reform existing social conditions, sterile theatrical conventions and outworn artistic orthodoxies. Shaw’s opinions on art and artists are scattered throughout his works, in his critical and journalistic writing, in letters and notebooks, as well as in his plays and the prefaces to them. He wrote essays of very high quality which are still read and praised. More than half a century after they were first printed. Shaw had moved to London because he felt that London was the literary centre of the English language. He occupied a central position from the opening of the modern period to his last play in 1950. Shaw dominates the theatre from 1890 right through to the Second World War. In play after play, in preface after preface, he has presented his analysis of the evils and errors of the time and has indicated his own solutions. He has constantly infused into his ideas. The stage-platform has given him the opportunity of shattering numerous false idols and also of awakening minds to thoughts beyond the superficial conventions. Feminist ideas spread among the educated female middle classes and the women's suffrage movements gained momentum of the Victorian Era. -
An Analysis of Social Reformation in the Plays of George Barnard Shaw Dr
Volume II, Issue IX, January 2015 - ISSN 2321-7065 Social Criticism: An Analysis of Social Reformation in The Plays of George Barnard Shaw Dr. Neena Sharma Assistant Professor Applied Science and Humanities Raj Kumar Institute of Technology Ghaziabad Uttar Pradesh India Abstract Shaw’s fundamental aim in his plays is the bettering of the lot of humanity by subjecting accepted conventions and institutions to the cold, searching light of his penetrating intellect. All his plays are about some important aspect of contemporary social life or some important social evil or social institution which he considers an evil, and which is scrutinized with courage and determination. Shaw writes plays in order to propagate his view, in order to convert and convince, he uses all the tools of argument and weapons to assertion which can produce conviction. Shaw looked upon the drama merely as an instrument, he did not attempt to make the play self sufficing. He is not concerned with telling a story or the creation of character. His play is an account of many mental reactions to a given problem. This discussion is summed up in a lengthy Preface which he has attached to each play and which is necessary for the proper understanding of that play. This paper focuses on the aspect of social reformation in the plays George Bernand Shaw. KEYWORDS:Criticism, drama of ideas, propagate, philosophy, conflict of speech. http://www.ijellh.com 222 Volume II, Issue IX, January 2015 - ISSN 2321-7065 INTRODUCTION Shaw was a social activist in his day. He was a proud Socialist and a founding member of one of England's major Socialist groups, the Fabians, who are credited with helping to form the Labor Party, which is one of the UK's two major parties today. -
A Comparison of Nietzsche's and Shaw's 'Vision of a Better Mankind'
Research on Humanities and Social Sciences www.iiste.org ISSN (Paper)2224-5766 ISSN (Online)2225-0484 (Online) Vol.6, No.7, 2016 Confluence of Minds: A Comparison of Nietzsche’s and Shaw’s ‘Vision of a Better Mankind’ GS. Aravind* Research Associate School of Social Science and Languages, VIT University, Vellore -632014, Tamil Nadu, India Dr Laxmi Dhar Dwivedi Associate Professor Department of English , School of Social Science and languages,VIT University,Vellore -632014, Tamil Nadu India Abstract Fredrick Nietzsche and George Bernard Shaw were not contemporaries. Though it is so, there are certain subtle connections between the philosophies put forward by them. Both of them were atheists and revolted against the moral conventions of their day. Their ideas were viewed as extreme in their times, as a result of which both the thinkers were deemed eccentric by the majority. In Nietzsche’s case, his slip into a state of lunacy during the final years would have further strengthened the public opinion about him.In this paper, I would attempt to make a brief comparison of the philosophies of these great writers. In order to streamline from the wide gamut of ideas they have in their credit , the concepts of ‘Ubermench’ (also called Overman) and ‘Will to Power’ put forward by Nietzsche will be compared with that of Shaw’s ideas of ‘Life Force’ and ‘Superman’. It is possible to make a connection between these two concepts and also their worldview in general so that one could find that Shaw’s ideas are an extension of Nietzsche’s but in a different way. -
31 Semantic Analysis of George Bernard Shaw's Candida: a Stylistic
International Journal of English Research International Journal of English Research ISSN: 2455-2186; Impact Factor: RJIF 5.32 www.englishjournals.com Volume 3; Issue 2; March 2017; Page No. 31-34 Semantic analysis of George Bernard Shaw’s Candida: A stylistic approach 1 2 S Gopi Krishnan, S Anandh Raj 1 Assistant Professor, Sri Rangaboopthy Engineering College, Gingee, Tamil Nadu, India 2 Ph.D. Research Scholar, Annamalai University, Chidambaram, Tamil Nadu, India Abstract G.B. Shaw is known for his discussion plays that provide ample scope for the stylistic interpretation. His characters are seldom mouthpieces, propagating his ideas. His irony and paradoxes can better be brought out through his skillfully woven dramatic language. Discourse analysis is a criterion that focuses on the linguistic structure of the dramatic dialogue. G.B. Shaw’s plays, next in global fame to Shakespeare’s, are unexhausted literature of discourses that have hardly been interpreted on their rich linguistic structure. Though more than fifty plays have been written by the noble laureate, Candida has restricted in the number of characters, but artistically valued much in its triangle discussion to deal with the characters’ nobility and happiness; passion and reason. Thus, the play is a resourceful art to be explored with the spectacle of stylistics. Researchers have already been done in the speech act theory, irony and paradox and some other related topics on this particular play. This paper is an attempt in the stream to study of Shaw’s Candida in the light of its semantic-stylistic value. Keywords: sematic, lexical and stylistic analysis Introduction towards a text’s status as discourse, a writer’s deployment of The word ‘style’ itself has no satisfactory definition as many discourse stratergies and towards the way a text ‘means’ as a language critics try to give their vague idea for the complex function of language in context”. -
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 -
Bernard Shaw's Interpretation of Women. a Thesis Submitted to The
Bernard Shaw's Interpretation of Women. A thesis submitted to the faculty of the Graduate School of the University of Minnesota ' ' ( ( f CI ( ! I C ( IC " ( ~ I I Cf ! :. ( ( I If C (f ~ C( I (I ~ by I ! ! C t t 1 1, I f' f C f I I I I f If IC CC I~ / 'c ff t f : I I C : ff f ~ ( I ( ~ ~ I ( If ~ f: ! ~ I : I 11 : ff f ff If I f f Grace Orpha ~avis • • • • c ••••• c f I C Cir ff I C I If f I I If ft II • ~' •, ! ' • f .. ! .. ! !11 I tfl f c I in partial fulfillment of the requirements for the degree of Master of Arts. June 1913 Cf' • Table of Contents. I. Introduction. II. Bernard Shaw as a Disciple of Freedom. III. Love and Marriage. IV. The Life-Force. v. The Women of the Plays. ( I ( ( 1 ( ( { I ( C( { ~ (. ( ( { ( f ( . VI. Conolueion. I I I ~ ( f ( . 1 t ff ( I CI .. CC f ~ ~ ~ I C ( . ' ( ( c ( .. ( ( / ( ~ ( I 1 c I I ( I( C I( I ( \ ~ CC f ' ' ' " ~\Cb 1"' .. n ~ - ~ N -' :a ~ I· -BIBLIOGRAPHY- Balfour, Edith:"Shaw and Super-Shaw."' Nation, Vol.46. Barniooat, Constance: "Counterfeit Presentation of Women"; Fortnightly Review, Voll_. 85; Mr. 1 06. Beerbohm, Max: Saturday Review, Vole. 85, 87, 89. Chesterton, Gilbert K.: •George Bernard Shaw•; Washington, New York, 1909. Dell, Floyd: "Women as World-builders•, Chicago, 1913. Ellis, Havelock: "The New Spirit"~ London, ~· 18~J'O. "Social Hygiene" , ': ~rcaw York; : 1913. ' ( f ~ ( ( ~ r ( (( I ((Cf If (ff C ( c f le «' c c c c Filon, Augustin: "Bernard Shaw et S~rl ; T~f3fi.t~t:i ." ~l · .: Revue des Deux Mondes, Vol.