The Historical and Socio-Political Context of “Look Back in Anger” by John Osborne and D.H. Lawrence's Sons and Lovers
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The Influence of Kitchen Sink Drama in John Osborne's
IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 23, Issue 9, Ver. 7 (September. 2018) 77-80 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org The Influence of Kitchen Sink Drama In John Osborne’s “ Look Back In Anger” Sadaf Zaman Lecturer University of Bisha Kingdom of Saudi Arabia Corresponding Author: Sadaf Zaman ----------------------------------------------------------------------------------------------------------------------------- ---------- Date of Submission:16-09-2018 Date of acceptance: 01-10-2018 ----------------------------------------------------------------------------------------------------------------------- ---------------- John Osborne was born in London, England in 1929 to Thomas Osborne, an advertisement writer, and Nellie Beatrice, a working class barmaid. His father died in 1941. Osborne used the proceeds from a life insurance settlement to send himself to Belmont College, a private boarding school. Osborne was expelled after only a few years for attacking the headmaster. He received a certificate of completion for his upper school work, but never attended a college or university. After returning home, Osborne worked several odd jobs before he found a niche in the theater. He began working with Anthony Creighton's provincial touring company where he was a stage hand, actor, and writer. Osborne co-wrote two plays -- The Devil Inside Him and Personal Enemy -- before writing and submittingLook Back in Anger for production. The play, written in a short period of only a few weeks, was summarily rejected by the agents and production companies to whom Osborne first submitted the play. It was eventually picked up by George Devine for production with his failing Royal Court Theater. Both Osborne and the Royal Court Theater were struggling to survive financially and both saw the production of Look Back in Anger as a risk. -
Psychological Insight in Look Back in Anger Dr
© 2020 IJRAR February 2020, Volume 7, Issue 1 www.ijrar.org (E-ISSN 2348-1269, P- ISSN 2349-5138) Psychological insight in Look Back in Anger Dr. Swati Tande Assist. Professor, Department of English, P.N. College, Nanded Abstract: This research paper intends to study Look Back in Anger as a problem play. The paper deals with the aspects of social conflicts consequent upon individual conflicts. Sense of loss in modern generation is the key concept of the play. The sense of loss leads to depression in modern people is reflected through the paper. The plot of Look Back in Anger moves from love, jealousy, misunderstanding, hatred, and reconciliation. Osborne had dramatized communal questions in order to arouse social conscience. The play presents the frustrated outbursts of Jimmy, the angry young man. He frenzied with resentment against conservative class system. Instead of facing the problems, the protagonist just grumbles for the people and situation in which he his living. Dealing with psyche of modern world, Osborne presented degeneration of generation. Key Words: psychological, rationale, reciprocal, obligation, alienation, reconciliation, compatibility. John Osborne was a born playwright. In his creative world dramatic expression comes with a perfect naturalness and ease. He remained defiantly a popular dramatist who was capable of speaking to a mass public. His play has a sense of social complexity. His major plays, particularly problem plays have never ceased to be the ‘lessons in feeling’. The depiction of the middle age group by Osborne is true to fact. Through his plays, Osborne had opened up a much wider subject than rebelliousness or youthful anger, that of social alienation. -
2348-7666; Vol.7, Issue-6 June, 2020 Impact Factor: 6.023; Email: [email protected]
International Journal of Academic Research ISSN: 2348-7666; Vol.7, Issue-6 June, 2020 Impact Factor: 6.023; Email: [email protected] Rashmi Rani Sahu Research Scholar in English Berhampur University, Ganjam, Odisha World War II destroyed the rational and moral foundations of human society which in turn produced a prevalent sense of utter meaninglessness and instability of human existence. This title attempts to look into the various issues relating to the social, economic and metaphysical life in 1950s England, explored by the three dramatists Samuel Beckett, Harold Pinter and John Osborne. Their choice of themes such as the absurdist and existential issues and the prevailing socio-economic discontentment, as well as the structure, tone and language of the plays effectively comment on these concerns. Kitchen sink realism (or kitchen sink drama) is a term coined to describe a British cultural movement that developed in the late 1950s and early 1960s in theatre, art, novels, film, and television plays, whose protagonists usually could be described as "angry young men" who were disillusioned with modern society. It used a style of social realism, which depicted the domestic situations of working class Britons, living in cramped rented accommodation and spending their off-hours drinking in grimy pubs, to explore controversial social and political issues ranging from abortion to homelessness. The harsh, realistic style contrasted sharply with the escapism of the previous generation's so-called "well-made plays". : Absurdist, Existential, modern, Social Realism. also not a proper job for a graduate man. Look Back in Anger (1956) is commonly According to Berkowitz “inability to fulfil credited with being the play in which the anticipations is a frustration” Osborne expressed a sense of frustration (McCarthy 16). -
Delia Derbyshire Sound and Music for the BBC Radiophonic Workshop, 1962-1973
Delia Derbyshire Sound and Music For The BBC Radiophonic Workshop, 1962-1973 Teresa Winter PhD University of York Music June 2015 2 Abstract This thesis explores the electronic music and sound created by Delia Derbyshire in the BBC’s Radiophonic Workshop between 1962 and 1973. After her resignation from the BBC in the early 1970s, the scope and breadth of her musical work there became obscured, and so this research is primarily presented as an open-ended enquiry into that work. During the course of my enquiries, I found a much wider variety of music than the popular perception of Derbyshire suggests: it ranged from theme tunes to children’s television programmes to concrete poetry to intricate experimental soundscapes of synthesis. While her most famous work, the theme to the science fiction television programme Doctor Who (1963) has been discussed many times, because of the popularity of the show, most of the pieces here have not previously received detailed attention. Some are not widely available at all and so are practically unknown and unexplored. Despite being the first institutional electronic music studio in Britain, the Workshop’s role in broadcasting, rather than autonomous music, has resulted in it being overlooked in historical accounts of electronic music, and very little research has been undertaken to discover more about the contents of its extensive archived back catalogue. Conversely, largely because of her role in the creation of its most recognised work, the previously mentioned Doctor Who theme tune, Derbyshire is often positioned as a pioneer in the medium for bringing electronic music to a large audience. -
An Abstract of the Thesis Of
AN ABSTRACT OF THE THESIS OF Nicolas Evans for the degree of Master of Arts in English presented on June 2, 2017. Title: (Mis)representation & Postcolonial Masculinity: The Origins of Violence in the Plays and Films of Martin McDonagh. Abstract approved: ______________________________________________________ Neil R. Davison This thesis examines the postmodern confrontation of representation throughout the oeuvre of Martin McDonagh. I particularly look to his later body of work, which directly and self-reflexively confronts issues of artistic representation & masculinity, in order to gain a more nuanced understanding of his earliest and most controversial plays. In part, this thesis addresses misperceptions regarding The Leenane Trilogy, which was initially criticized for the plays’ shows of irreverence and use of caricature and cultural stereotypes. Rather than perpetuating propagandistic or offensive representations, my analysis explores how McDonagh uses affect and genre manipulation in order to parody artistic representation itself. Such a confrontation is meant to highlight the inadequacy of any representation to truly capture “authenticity.” Across his oeuvre, this postmodern proclivity is focused on disrupting the solidification of discourses of hyper-masculinity in the vein of postcolonial, diasporic, and mainstream media’s constructions of masculinity based on aggression and violence. ©Copyright by Nicolas Evans June 2, 2017 All Rights Reserved (Mis)representation & Postcolonial Masculinity: The Origins of Violence in the Plays and Films of Martin McDonagh by Nicolas Evans A THESIS submitted to Oregon State University in partial fulfillment of the requirements for the degree of Master of Arts Presented June 2, 2017 Commencement June 2017 Master of Arts thesis of Nicolas Evans presented on June 2, 2017 APPROVED: Major Professor, representing English Director of the School of Writing, Literature, and Film Dean of the Graduate School I understand that my thesis will become part of the permanent collection of Oregon State University libraries. -
An Overview of the Working Classes in British Feature Film from the 1960S to the 1980S: from Class Consciousness to Marginalization
An Overview of the Working Classes in British Feature Film from the 1960s to the 1980s: From Class Consciousness to Marginalization Stephen C. Shafer University of Illinois Abstract The portrayal of the working classes has always been an element of British popular film from the comic music hall stereotypes in the era of Gracie Fields and George Formby in the 1930s to the more gritty realism of the “Angry Young Man” films that emerged in the 1950s and 1960s. Curiously, in the last thirty years, the portrayal of the working classes in popular film has become somewhat less sharply drawn and more indistinct. In an odd way, these changes may parallel criticisms directed toward politicians about a declining sense of working-class unity and purpose in the wake of the Margaret Thatcher and post-Thatcher eras. When noted English film director and commentator Lindsay Anderson was asked to contribute an overview article on the British cinema for the 1984 edi- tion of the International Film Guide, he ruefully observed that from the per- spective of 1983 and, indeed, for most of its history, “British Cinema [has been] . a defeated rather than a triumphant cause.”1 Referring to the perennial fi- nancial crises and the smothering effect of Hollywood’s competition and influ- ence, Anderson lamented the inability of British films to find a consistent na- tional film tradition, adding that “the British Cinema has reflected only too clearly a nation lacking in energy and the valuable kind of pride . which cher- ishes its own traditions.”2 In particular, Anderson observed that when, on occa- sion, the British film industry had attempted to address the interests and needs of its working classes, the “aims” of the film-makers “were not supported . -
Winter Series Art Films and Events January February Filmmarch Film
Film Program Winter 2008 National Gallery of Art, Washington Winter Series film From the Archives: 16 at 12 England’s New Wave, 1958 – 1964 István Szabó’s 20th Century Alexander Sokurov In Glorious Technicolor Art Films and Events This Sporting Life (Photofest) 19 Sat II March Edward 2:00 England’s New Wave, 1958 – 1964: A Kind of Loving 1 Sat J. M.W. Turner and Film 4:30 England’s New Wave, 1958 – 1964: 2:00 István Szabó’s 20th Century: Mephisto (two-part program) This Sporting Life 4:30 István Szabó’s 20th Century: Colonel Redl 2 Sun The Gates 20 Sun 4:30 England’s New Wave, 1958 – 1964: 4:30 István Szabó’s 20th Century: Hanussen International Festival of Films Saturday Night and Sunday Morning; 4 Tues The Angry Silence on Art 12:00 From the Archives: 16 at 12: The City 22 Tues of Washington Henri Storck’s Legacy: 12:00 From the Archives: 16 at 12: Dorothea 8 Sat Lange: Under the Trees; Eugène Atget (1856 – 1927) Belgian Films on Art 3:00 Event: Max Linder Ciné-Concert 26 Sat 9 Sun 2:00 Event: International Festival of Films on Art England’s Finest Hour: 4:30 Alexander Sokurov: The Sun (Solntse) Films by Humphrey Jennings 27 Sun 11 Tues 4:00 Event: International Festival of Films on Art Balázs Béla Stúdió: 1961 – 1970 12:00 From the Archives: 16 at 12: Washington, 29 Tues City with a Plan Max Linder Ciné-Concert 12:00 From the Archives: 16 at 12: Dorothea 15 Sat Lange: Under the Trees; Eugène Atget (1856 – 1927) 2:30 Alexander Sokurov: Elegy of Life: Silvestre Revueltas: Music for Film Rostropovich Vishnevskaya February 4:30 Alexander -
Anders Emilson Design in the Space Between Stories
ANDERS EMILSON ANDERS EXPRESSION OF FORMS AND SPHERES PUBLIC MEDIA, NEW DISSERTATION: ANDERS EMILSON DESIGN IN THE SPACE BETWEEN STORIES Design for Social Innovation and Sustainability – from responding to societal challenges to preparing for societal collapse DESIGN IN THE SPACE BETWEEN STORIES BETWEEN SPACE THE IN DESIGN MALMÖ UNIVERSITY2015 MALMÖ isbn 978-91-7104-633-8 MALMÖ UNIVERSITY 205 06 MALMÖ, SWEDEN WWW.MAH.SE isbn 978-91-7104-633-8_omslag_tryck.indd Alla sidor 2015-07-30 13:42 DESIGN IN THE SPACE BETWEEN STORIES Doctoral dissertation in Interaction Design Dissertation series: New Media, Public Spheres and Forms of Expression Faculty: Culture and Society Department: School of Arts and Communication Malmö University Information about time and place of public defence, and electronic version of dissertation: https://dspace.mah.se/handle/2043/19185 © Copyright Anders Emilson, 2015 Layout: Jonas Odhner Language editing: Janet Feenstra Print: Service Point Holmbergs, Malmö 2015 ISBN 978-91-7104-633-8 (print) ISBN 978-91-7104-634-5 (pdf) ANDERS EMILSON DESIGN IN THE SPACE BETWEEN STORIES Design for Social Innovation and Sustainability – from responding to societal challenges to preparing for societal collapse Malmö University 2015 To my son, Igor CONTENTS ACKNOWLEDGMENTS ................................................ 13 PART I: INTRODUCTION ................................................ 17 A DARK ENTRY ............................................................ 19 Proposal .............................................................................32 -
Inspiratorium
inspiratoriumTHE An intermedia history of art-media-innovation 1800-2015 Te Inspiratorium - an intermedia history of media-art and innovation by Bob Cotton Te Inspiratorium is the frst intermedia history of the arts, media and innovation. It is a personal collection of in- novative artefacts, drawn from the histories of all the media arts (photography, painting, installation, animation, flm, graphics, commercial art, music, theatre, dance, literature, poetry, fashion and costume, computer-based art, etc); from the innovations in media form and content, and from the scientifc discoveries and critical theories that underpin such innovation - the emerging theories of art, photography, flm, new media, etc, and the core theories of perception, colour, cognition, consciousness, psychology, physics, computer science etc.Te Inspiratorium also includes the people who personify the zeitgeist of the periods covered - the artists, designers, stars, celebrities, char- acters, entrepreneurs and impresarios of the ages. It is designed as an exhibition to immerse, inform, guide, inspire, catalyse, and contextualise. In short its the place to come for inspiration, no matter what your discipline. It is designed to be an immersive and chronological guide or back-story of the media-arts-innovation environment/ ecology we fnd ourselves in our multimedia, networked, computer-mediated 21st century. Its the back-story of our times. When exhibited, I envisage about 1000 discrete artefacts displayed as individual plaques. LCD screens, projec- tions, that are arranged chronologically. Te Inspiratorium also encourages participation - visitors can suggest arte- facts for inclusion. All the in-copyright images displayed are used under section 10 of the 1998 Copyright Act - ie in the spirit of fair use as an educational tool for students of all ages.. -
The Illustrated London News and the Theatre
Gale Primary Sources Start at the source. The Illustrated London News and the Theatre Christopher Kent University of Saskatchewan Various source media, Illustrated London News Historical Archive 1842-2003 EMPOWER™ RESEARCH Introduction week providing reviews of the latest London productions as well as other theatre news. These can The ILN, which prided itself on its sense of history, be searched by their various running titles which were commissioned its drama critic Clement Scott to write mainly “The Theatres” from 1842 to the mid-1870s, “Fifty Years at the Play” for its fiftieth anniversary “The Playhouses” in the early 1880s, “Art, Music and number in 1892, and in 1911 commissioned Sir Henry Drama” 1907-1914, and “The World of the Theatre” Irving, the Victorian age’s greatest actor, to take 1920-64. The ILN’s theatre critics included the minor a retrospective look at the Victorian Stage. Both are poet-playwright John A. Heraud who wrote well worth reading. The Victorian period is not viewed anonymously from 1849 to 1873, the chatty journalist by scholars as a great era in theatre history. It George Augustus Sala who wrote under his well-known produced very few classic plays, but the Victorian initials in the 1880s, the influential and opinionated theatre tells us a great deal about the age, and Clement Scott who signed his articles in the 1890s, and the ILN tells us a great deal about the theatre. Its the literary critic Frederick George Bettany who wrote founding coincided with a watershed event in theatre anonymously in the early 1900s. From 1920 to 1934 history, the abolition in 1843 of the monopoly that Jacob Thomas Grein, an important figure in the restricted the right to present “legitimate” drama in independent theatre movement, was the theatre critic, London to three theatres, Covent Garden, Drury Lane followed by the theatre scholar Ivor Brown until 1940, and the Haymarket. -
Social Discrimination in John Osborne's Look Back in Anger
================================================================== Language in India www.languageinindia.com ISSN 1930-2940 Vol. 17:12 December 2017 India’s Higher Education Authority UGC Approved List of Journals Serial Number 49042 ================================================================ Social Discrimination in John Osborne’s Look Back in Anger M. Meivizhi, M.A., M.Phil., B.Ed. ================================================== John Osborne Courtesy: http://waytofamous.com/19667-john-osborne.html Abstract British literature is a mirror initially tied-up with several historical events, reflecting many facets of British identity. English drama rose, with excellent rapidity, to the summit of its ==================================================================== Language in India www.languageinindia.com ISSN 1930-2940 17:12 December 2017 M. Meivizhi, M.A., M.Phil., B.Ed. Social Discrimination in John Osborne’s Look Back in Anger 249 literary glories and is reflected through the imaginative strength of famous playwrights of England. The realistic issues which took place in and around the society are revealed in British plays and that has paved the way for new talents to create awareness among the people. The foremost playwrights who merge in the middle of the fifties are Samuel Beckett, Harold Pinter and John Osborne. Of these writers, Osborne shows his concerns over the class problems of the society. His plays deal with social discrimination, alienation, man’s rebellion against the bonds of custom, anger, despair and frustration of the post-war generation, man-woman relationship and similar socio-psychological themes. He is regarded as the most brilliant dramatist of the post-Second World War period in Britain. Apart from the impressive volume of his writings, his plays have a great literary significance and bring him an enviable position among contemporary British dramatists. -
Look Back in Anger by John Osborne
PILOT THEATRE LOOK BACK IN ANGER RESOURCES Introduction On May 8th 1956, Look Back in Anger opened at the Royal Court Theatre as the third production of the newly formed English Stage Company. The English Stage Company had been founded in 1955 to promote the production of new plays by contemporary authors that might not find production in the commercial West End theatre (London's equivalent of Broadway in New York City). West End theatre provided quality acting and high standards of production, but very little drama that related to life in contemporary England. Most plays of the time were generally innocuous light comedies, thrillers, and foreign imports—fourteen American shows in 1955 alone. Osborne had submitted copies of Look Back in Anger to every agent in London and to many West End producers and had been rejected by all. When the script arrived at the Royal Court, the Artistic Director George Devine and his young assistant director Tony Richardson knew it was exactly what they were looking for. Look Back in Anger was viewed as a play that would, as Devine later put it, "blow a hole in the old theatre." Critical reception was strongly mixed: some detested the play and the central character, but most recognized Osborne as an important new talent and the play as emotionally powerful. They also recognized the play as one that fervently spoke of the concerns of the young in post-war England. The first production of Look Back in Anger was not initially financially successful, although after an excerpt was shown on BBC the box office was overwhelmed.