The Political Rhapsody and Ethical Expression in Bernard Shaw's The
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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 -
George Bernard Shaw in Context Edited by Brad Kent Frontmatter More Information
Cambridge University Press 978-1-107-04745-7 - George Bernard Shaw in Context Edited by Brad Kent Frontmatter More information GEORGE BERNARD SHAW IN CONTEXT When Shaw died in 1950, the world lost one of its most well-known authors, a revolutionary who was as renowned for his personality as he was for his humour, humanity, and rebellious thinking. He remains a compelling figure who deserves attention not only for how influential he was in his time but also for how relevant he is to ours. This collection sets Shaw’s life and achievements in context, with forty-two chapters devoted to subjects that interested him and defined his work. Contributors explore a wide range of themes, moving from factors that were formative in Shaw’s life, to the artistic work that made him most famous and the institutions with which he worked, to the political and social issues that consumed much of his attention, and, finally, to his influence and reception. Presenting fresh material and arguments, this collection will point to new direc- tions of research for future scholars. brad kent is Associate Professor of British and Irish Literatures at Université Laval and was Visiting Professor at Trinity College Dublin in 2013–14. His recent publications include a critical edition of Shaw’s Mrs Warren’s Profession (2012), The Selected Essays of Sean O’Faolain (forthcoming), and essays in University of Toronto Quarterly, Modern Drama, ARIEL: A Review of International English Literatures, English Literature in Transition, Irish University Review, and The Oxford Handbook of Modern Irish Theatre. He is also the programme director of the Shaw Symposium, held annually at the Shaw Festival in Niagara-on-the-Lake, Canada. -
George Bernard Shaw on the Polish Stage – a Brief Overview
Anna Suwalska-Kołecka Państwowa Wyższa Szkoła Zawodowa w Płocku GEORGE BERNARD Shaw ON THE POLISH stage – A BRIEF overview George Bernard Shaw na polskich scenach – krótki przegląd Abstract The main aim of this paper is to delineate the most crucial aspects of the reception of George Bernard Shaw’s plays in Poland. Shaw, believed to have set the direction of modern British drama, has been welcomed enthusiastically by Polish audiences since the beginning of the twentieth century. Warsaw was called a “Shavian city” and his popularity reached its peak in the years between the two World Wars. After WWII, Shaw’s plays were frequently staged and his political views were presented as being in line with the ruling par- ty’s policies. The fall of Communism brought about a decline in his presence on Polish stag- es, but he reappeared recently in productions that dismantle his plays in postmodern ways. Keywords: Shaw, reception, drama, the twentieth century. Streszczenie Głównym celem tego artykułu jest przedstawienie głównych aspektów recepcji twórczości George’a Bernarda Shaw w Polsce. Uważany za dramatopisarza, który wy- tyczył kierunek rozwoju współczesnego dramatu brytyjskiego, Shaw był witany entu- zjastycznie przez polską widownię od początku dwudziestego wieku. Warszawa nosiła z tego powodu przydomek miasta shawiańskiego, a jego popularność osiągnęła apogeum w okresie międzywojennym. Po wojnie sztuki Shawa były często wystawiane, a lewicowe poglądy autora utożsamiano z obowiązującą linią polityczną partii. Rok 1989 i transforma- cja ustrojowa spowodowała zmniejszenie zainteresowania jego twórczością. Jego sztuki powracają ostatnio na polskie sceny poddane postmodernistycznemu recyclingowi. Słowa kluczowe: Shaw, recepcja, dramat, wiek dwudziesty 1. Introduction George Bernard Shaw (1856–1950) is an Irish playwright rated as second only to William Shakespeare in the Anglophone tradition, and the only one who can boast both the Nobel Prize for Literature (1925) and an Academy Award for his screenplay of Pygmalion (1938). -
The Relationship of Shaw's Political Ideas to His Dramatic Art"
G.B.S.: PAMPHLETEER OR PLAYWRIGHT? "The Relationship of Shaw's Political Ideas to His Dramatic Art" By Joyce Long Submitted as an Honors Paper in the Department of English The Woman's College of the University of Uorth Carolina Greensboro, Korth Carolina 1956 Approved hy Examining Committee ^V^> * VfcflJT CGHTEKTS FOREWORD i I. SHAW'S I OLITICAL THOUGHT 1 II. SHAW TIIE PHILOSOPHER 8 III. SHAW TIE COKEC ARTIST 23 IV. SHAW THE ARTIST-PHILOSOPHER 36 FOREWORD Ky purpose in this paper is to answer within the limits of the paper the question, Was Shaw an artist or a propagandist? I propose to arrive at an answer by analyzing what happens to ideas in three of Shaw's plays. Taking his political ideas as a measuring stick, I have selected three plays, Back to Kethuselah, Kan ani Supernan, and Caesar and Cleopatra, which illustrate Shaw'fl treatment of ideas. I have selected these because they treat extensively political ideas and because they were written during the height of Shaw's career as a playwright. Ky chief interest has not been Shaw's political ideasj I have not attempted to explore the ideas in his plays, nor to set forth a political philosophy derived from the plays—I have been interested in what happens to these ideas in the plays, and their relationship to the dramatic fcrm. I have not attempted to trace the development of a dramatic style or technique, nor to explain in terms of Shaw's career why in one play he subordinates idea to art, and in another art to idea. -
George Bernard Shaw – Selected Quotations
GEORGE BERNARD SHAW – SELECTED QUOTATIONS A day's work is a day's work, neither more nor less, and the man who does it needs a day's sustenance, a night's repose and due leisure, whether he be painter or ploughman. A fashion is nothing but an induced epidemic. A fool's brain digests philosophy into folly, science into superstition, and art into pedantry. Hence University education. A life spent making mistakes is not only more honorable, but more useful than a life spent doing nothing. A lifetime of happiness! No man alive could bear it; it would be hell on earth. Americans adore me and will go on adoring me until I say something nice about them. An American has no sense of privacy. He does not know what it means. There is no such thing in the Criminals do not die by the hands of the law. They die by the hands of other men. Democracy is a device that ensures we shall be governed no better than we deserve. England and America are two countries separated by a common language. Everything happens to everybody sooner or later if there is time enough. Few people think more than two or three times a year; I have made an international reputation for myself by thinking once or twice a week. Gambling promises the poor what property performs for the rich--something for nothing. Hegel was right when he said that we learn from history that man can never learn anything from history. Hell is full of musical amateurs. -
I First Came to the Theatre in 1966 As an Actor and in 1967 I Was Appointed the Artistic Director
PAXTON WHITEHEAD I first came to the theatre in 1966 as an actor and in 1967 I was appointed the artistic director. I stayed in that position through the season of 1977, which also included a short tour after the season into the spring of 1978. That was the period of my time there, with one exception: The 1975 season was not produced by me, it was produced by Tony van Bridge because I was on a sabbatical. I had been working in the United States for about four and a half years, mostly in the New York area, and about 19641 finished a production of Beyond the Fringe and discovered regional theatre. I was going around various places in the U.S. as a guest, appearing with the regional companies. One of those was the Manitoba Theatre Centre in Winnipeg, when I was hired up from New York to participate in Heartbreak House in the spring of 1965 along with a few other America-based actors to join a company there, in which I found Tony van Bridge and Martha Henry. I had a wonderful time and they asked me back the following fall to do Private Ear and Public Eye and The Importance of Being Earnest. In the meantime, in the interim after doing Heartbreak House in Winnipeg I had appeared in Cincinnati in Major Barbara, where I had been seen by Marigold Charlesworth, who at that time was running the Canadian Players. Coincidentally she asked me to come to Toronto to appear in their production of The Importance of Being Earnest. -
CHAPTER -VI Political Plays of Shaw It Is Only Natural That the Critical
CHAPTER -VI Political Plays of Shaw It is only natural that the critical insight of a revolting son of the middle class should fall on politics and that he should ransack the whole field. Shaw's critical genius was attracted to politics in a very large sense of the term and he took immense interest in the political problems of his day - problems that include economics and finance. A vast amount of his writings - actually the majority of them - concern themselves with the study of social classes, wealth and poverty, rent, wages, and interest and, at the same time, with international relations, the World War, the Irish Question, Labour party etc. He wrote so much on politics and spoke so much on it that it seemed to some of his critics and biographers including such an erudite one as Archibald Hinderson that "art played a very secondary part in the life 1 of this international publicist". This view is erronuous inspite of the zeal shown by Shaw in the politics of his time — national as well as international.His interest in politics is expressed in many of his plays; but he remains an artist all the same for he dramatized his views and ideas through the action in the play or rather through "discussion" which is the "action" in a Shavian play $ and secondly, his expression of political ideas is seldom allowed to work like just propaganda. Some of the political problems dealt with 1. G.B.S. : Man of the Century. Vol II. Appleton-Century- Crofts Inc. 1956. p. -
Shaw and His Social Plays
Shaw and His Social plays Dr Sandeep Kumar Gupta Assistant Professor (English) Govt. Degree College Bhojpur (Moradabad) G. B. Shaw is a socialist. He produced his art not only for the sake of art but also to change the world towards a better life and to get rid of social and political vices. His fundamental aim in his plays is bettering the lot of humanity by subjecting accepted connections 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. Shaw read Karl Marx whose writings influenced him very much. He was eager to reform English society. He was gaining the recognition of the type of audience that he wanted to attract to the theatre. He began writing for the theatre. He was greatly influenced by the social plays of Ibsen. Shaw was essentially a comic dramatist while Ibsen was tragic. Shaw called himself a rationalist, a realist and an anti-romantic. He was against all shams, affectations and false conventions. He is against all romantic outburst of emotion and sentiment. G.B. Shaw considers poverty is an evil. He scorns capitalism and advocates socialism. As a socialist, he thinks about the problem of family, love, marriage and se-relations. Shaw objects to marriage and family because these institutions are based on false economics and false biology. As a biologist, he thinks that procreation is the most sacred work of all, and as a socialist he demands that all work should be suitably paid for. -
Bernard Shaw and the Avant-Garde" (2012)
Eastern Illinois University The Keep Fall 2012 2012 Fall 8-15-2012 ENG 5006-001: Bernard Shaw and the Avant- Garde Chris Wixson Eastern Illinois University Follow this and additional works at: http://thekeep.eiu.edu/english_syllabi_fall2012 Part of the English Language and Literature Commons Recommended Citation Wixson, Chris, "ENG 5006-001: Bernard Shaw and the Avant-Garde" (2012). Fall 2012. 124. http://thekeep.eiu.edu/english_syllabi_fall2012/124 This Article is brought to you for free and open access by the 2012 at The Keep. It has been accepted for inclusion in Fall 2012 by an authorized administrator of The Keep. For more information, please contact [email protected]. " SCJD(o-CJO I fall 2012 Dr. Chris Wixson "The only golden rule is that there are no golden rules." ---- G.B.S. syllabus course description Beginning in the 1890s, Bernard Shaw transformed British drama, bringing to it intellectual substance, ethical imperatives, and modernity itself, setting the theatrical course for the rest of the century. Approvingly characterized as a "terrorist" by Bertolt Brecht, Shaw is the greatest playwright in the English language after Shakespeare. Lately, the word "surrealism" has appeared increasingly and unexpectedly in conversations about Shaw's work, especially among theater practitioners. At first glance, considering Shaw a surrealist dramatist seems itself a surreal move. His early works are grounded in a kind of didactic realism, characterized by furious drawing-room moralizing and quite dated shock and awe tactics. The plays from his middle period are the most famous and epitomize the style of modern drama with which he is most associated: the discussion play. -
Too True to Be Good at the 1932 Malvern Festival
Too True to Be Good at the 1932 Malvern Festival SOUDABEH ANANISARAB ABSTRACT: The Malvern Festival was established in 1929 by the founder and then director of the Birmingham Repertory Theatre, Sir Barry Jackson. While the Festival began as an event solely dedicated to Shaw, Jackson’s guiding philosophy of the Festival soon changed its direction in later seasons as Jackson sought to present a glorified sense of England’s past to an audience of international visitors by means of an emphasis on lesser-known classics in English theater. This article explores the reception of Shaw’s Too True to Be Good (1932) in this context to argue that Shaw’s increasingly dystopian visions of England’s future as depicted in his later plays clashed with Jackson’s organization of the Festival and that Shaw’s inclusion in the repertoire and presence in Malvern largely contributed to the Festival’s failure in reconciling its images of the past and present. KEYWORDS: Shaw, Malvern Festival, Sir Barry Jackson, Too True to Be Good George Bernard Shaw’s Too True to Be Good received its British premiere in 1932 as part of the fourth season of the Malvern Theatre Festival. The Malvern Festival was established in 1929 by the founder and then direc- tor of the Birmingham Repertory Theatre, Sir Barry Jackson. The Festival began as an event solely dedicated to Shaw as in its first season; it featured five Shavian productions including the British premiere of The Apple Cart. While during its twelve seasons the Festival fluctuated in the extent of its association with Shaw, in total it presented two world premieres of Shaw’s plays and four British premieres. -
Galaxy: International Multidisciplinary Research Journal the Criterion: an International Journal in English Vol
About Us: http://www.the-criterion.com/about/ Archive: http://www.the-criterion.com/archive/ Contact Us: http://www.the-criterion.com/contact/ Editorial Board: http://www.the-criterion.com/editorial-board/ Submission: http://www.the-criterion.com/submission/ FAQ: http://www.the-criterion.com/fa/ ISSN 2278-9529 Galaxy: International Multidisciplinary Research Journal www.galaxyimrj.com The Criterion: An International Journal in English Vol. 10, Issue-III, June 2019 ISSN: 0976-8165 An Insight into the Structure of G.B. Shaw’s Plays Dr. Manju Jha PGT-English JNV-Pachapdra Nagar, Dist.- Barmer (Raj.) Article History: Submitted-30/04/2019, Revised-20/06/2019, Accepted-23/06/2019, Published-10/07/2019. Abstract: George Bernard Shaw’s technique with regard to the structure of his plays is well known with all its innovations. He preferred flexibility and dynamism to the rigidity of adhering to the norms of the structure as advocated by the classical critics and theorists of the past. The emphasis upon the collection as well as selection of the meaningfully effective subject matter for a play occupies comparatively greater space in his plays. For the impressive presentation of his plays, he sacrifices even the aspects of consistency and due development of the story as preferred by Aristotle. Totality of the effect matters most for him as it presents life with its black and white colours. Characters in his plays present their cause to an effect relationship with regard to some or the other event or incident in a play. His plays do not suffer from any sort of break in the continuity of the action despite the vastness of the sphere covered by the plot. -
The Doctor's Dilemma John Bull's Other Island
John Bull’s The Other Doctor‘s Island Dilemma by Bernard Shaw By GB Shaw ONNECTIONS Shaw Festival CStudy Guide The Shaw Story 2 The Players 3 The Story 4 Who’s Who 5 The Playwright 6 Director’s Notes 7 Designer’s Notes 8 Production History 9 World of the Play 10-20 Say What? 21 Sources 22 THE SHAW STORY MANDATE The Shaw Festival produces and presents the work of George Bernard Shaw (1856-1950) and playwrights writing anywhere in the world during, or about, the era of Shaw’s lifetime. VALUES • The Shaw Festival chooses works for presentation that are challenging, provocative and intelligent. • Productions engage audiences with clever, insightful, and delightful portraits of the human condition. WHAT MAKES • The works chosen often resonate with the wit, social commentary, and topical relevance for which G.B. Shaw himself was well known. SHAW SPECIAL • The Shaw Festival is dedicated to excellence, consistency, and integrity in all its creative and administrative practices. • The Shaw Festival operates within a fiscally responsible and accountable framework. THE SHAW FESTIVAL ATTRIBUTES ITS SUCCESS TO: The Ensemble - their talent, continuity, generosity, and collegiality fuel all of the Festival’s efforts The Company - their singular sense of purpose fosters mutual trust, respect, and dedication to the Festival The Repertory - the alternating schedule of performance serves the audience and inspires the company The Mandate - 1856-1950 offers a wealth of material to fascinate and delight, Festival Theatre liberating the ensemble to explore complex questions from the safety of the not too distant past while encouraging audiences to re-discover themselves through the lens of historical perspective The Shaw Festival is a crucible of progressive and provocative ideas inspired by the brilliance, bravery, humanity, and humour of George Bernard Shaw.