 Subjects -> BIOGRAPHY (Total: 17 journals)
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- Introduction
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Abstract: The primary objective of most traditional storytelling, theater (not including Brecht's Epic Theater), opera, and film is to provoke emotions in the audience. To help reach this goal the author or playwright has three basic elements: character, desire, and conflict. The dramatic conflict is rooted in the subtext of the central characters, who are driven by conflicting desires. The hero or protagonist, with whom we sympathize, as in a fairytale, has a number of insurmountable obstacles he must overcome or resolve in order to achieve his goal. This goal or outer motivation is what is reached (or not) at the end of the play. According to Gary Bortolotti and Linda Hutcheon,1 narrative adaptations have been denigrated ... Read More
PubDate: 2023-06-21T00:00:00-05:00
- Adaptation, Litigation, and Petrifaction: Bernard Shaw and That "loathsome
plagiarism" The Chocolate Soldier-
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Abstract: The whole affair is unaccountable, except as an attempt at blackmailing a sucker (me!).Between July 1925 and March 1928, Bernard Shaw crossed paths with a young American attorney called Jesse Arnold Levinson who specialized in motion picture law but was also an aspiring producer. They clashed over whether any cinematic version of The Chocolate Soldier would infringe Shaw's copyright on Arms and the Man. Extending further the playwright's early negotiation over a musical adaptation, Levinson v. Shaw sought to chart relatively novel contours of intellectual property following the advent of talking pictures just as Shaw had begun fielding regular requests for cinematic adaptations and weighing their implications for ... Read More
PubDate: 2023-06-21T00:00:00-05:00
- Operatic Adaptations of Shaw's Plays The Devil's Disciple and The Music
Cure-
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Abstract: Many scholars have pointed out that Shaw disliked the concept of musical adaptations of his works, despite approving of some cinematic adaptations. In plays in general, music functions as an important and often-overlooked subtext that enhances the entire dramatic experience by supporting the situation, the narrative and influencing the dramaturgical structure, as well as influencing the audience's ultimate perception of character and emotion. Music (including songs, instrumental underscoring, and sound cues) supports, reflects, and advances dramatic action as a subtext in combination with the script and it serves as an essential device to enhance character definition.As I have shown elsewhere,1 Shaw's consistent ... Read More
PubDate: 2023-06-21T00:00:00-05:00
- "I'm a slave now, for all my fine clothes": Bernard Shaw's Pygmalion and
the Dido Myth-
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Abstract: In the last act of George Bernard Shaw's play Pygmalion, Eliza laments her fate and the hopelessness of her situation: "Oh! if I only could go back to my flower basket! I should be independent of both you and father and all the world! Why did you take my independence from me' Why did I give it up' I'm a slave now, for all my fine clothes."1 Here, Eliza does not seem to be the compliant statue created by Pygmalion and brought to life by Venus expressly to be her creator's wife. Feeling robbed of her freedom, she sees Higgins as an oppressor and revolts against him. Unlike Ovid's Pygmalion, furthermore, Higgins has no overtly romantic or sexual intentions toward his "creation." Indeed, Shaw violently opposed the ... Read More
PubDate: 2023-06-21T00:00:00-05:00
- "Whole Play Complete, Only Waiting to Be Filled Out": The Postmodern
Hybrid of Why She Would Not by Bernard Shaw and Lionel Britton-
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Abstract: In 2009 David Statter commissioned five accomplished playwrights to write the final scene of Why She Would Not, thus providing five endings to Shaw's arguably incomplete last play. Approximately sixty years earlier, shortly after Shaw's death, another dramatist, using the original typescript and his own dramatic experience, fleshed out Why She Would Not into a full-length play, added large sections of paratextual material, and then dedicated the last two decades of his life to the work's publication in its extended form, a feat which he never accomplished.The man in question was a fellow London playwright, Lionel Britton, who owed his short-lasting fame in the 1930s to Shaw's favorable recommendation of his ... Read More
PubDate: 2023-06-21T00:00:00-05:00
- Amending Shakespeare: Bernard Shaw's Displeasure with Cymbeline, Act 5, in
the Contexts of Modern Bardolatry and Syncretism-
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Abstract: The strange anomaly at the heart of Shakespeare's late romance anti-war, dark comedy Cymbeline (1609) comes closer to Alfred Jarry's absurdist Ubu Roi (1896), than to the hypothetical, post-Ibsenite revision of it proposed by the piquant Irish playwright, George Bernard Shaw in 1936. Shaw's scathing review of Henry Irving's production of Cymbeline in the same year, stated: "It is for the most part stagey trash of the lowest, melodramatic order, in parts abominably written, throughout intellectually vulgar, and judged in point of thought by modern intellectual standards, vulgar, foolish, offensive, indecent and exasperating beyond all tolerance" (Our Theatres).1 His observation, ironically enough, went hand in hand ... Read More
PubDate: 2023-06-21T00:00:00-05:00
- David Staller in Conversation: A Look Into the New York World of David
Staller-
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Abstract: Exploring the landscape of George Bernard Shaw's contributions to society has been a life's work for David Staller, founding artistic director of New York City's Gingold Theatrical Group, now in its eighteenth year. His introduction to Shaw came from his godmother, the acclaimed if eccentric British actress Hermione Gingold, who had revered and had even known Shaw. By the time Staller was ten, the two were engaging in a robust correspondence in which she patiently responded to the usual questions children might ask until she finally wrote, "Darling, I love you but you have got to start asking more compelling questions." This letter was accompanied by a copy of Shaw's monumental Man and Superman. "Just read it" she ... Read More
PubDate: 2023-06-21T00:00:00-05:00
- Shaw in America
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Abstract: As L. W. Conolly makes clear, George Bernard Shaw had no great love for America. His expressed opinion of the United States "normally consisted of a toxic mix of contempt and mockery" (2). Despite many invitations, he did not visit the country until 1933, at the age of seventy-six. This was despite the fact that during this time, the United States saw forty-four national premieres of Shaw's plays, eleven of them world premieres, including those of Heartbreak House, Back to Methuselah, and St. Joan. The United States was Shaw's largest source of income during the period between his first American premiere—Richard Mansfield's 1894 production of Arms and the Man—and his death in 1950. In the period between 1909 and ... Read More
PubDate: 2023-06-21T00:00:00-05:00
- Unions, Strikes, Shaw
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Abstract: A rich exploration of the contexts in which George Bernard Shaw penned some of his most enduring commentaries on capitalism and his proposed road to socialism, this book is a rewarding read. Bernard F. Dukore provides a compelling new analysis of Shaw and his times, not only for the Shaw scholar, but perhaps more particularly for the labor historian or the student seeking a better sense of Shaw's perceptive thoughts on labor relations. What is more, unusually for such a volume, this book speaks to the present. It widens its conceptual and historical scope to consider what Shaw's understanding of the battle between capital and labor can tell us about industrial disputes over the past century in Britain, America, and ... Read More
PubDate: 2023-06-21T00:00:00-05:00
- Three Early Shaw Plays That Interrogate Marriage, the Family, and Women's
Roles-
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Abstract: An excellent and eminently teachable addition to the new Oxford World Classics Shaw series, this collection includes three early plays that could seem very different to those unfamiliar with the material and the milieu. Although Shaw wrote Mrs. Warren's Profession (1893), Candida (1894), and You Never Can Tell (1896) within a three-year period, the first more than earns its place among his Plays Unpleasant, while the other two are Pleasant in altogether distinctive ways. While each has seen significant revivals, their theatrical destinies have been widely divergent, especially during Shaw's lifetime. Mrs. Warren—an excoriation of the capitalist structures that drive poor women to prostitution—was officially ... Read More
PubDate: 2023-06-21T00:00:00-05:00
- Shaw Disarms the Man: War, Colonialism, and Theater in the 1890s
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Abstract: The clever combination of these three plays, Arms and the Man (1894), The Devil's Disciple (1897), and Caesar and Cleopatra (1898) in this Oxford volume serves to define Shaw's writing style in the mid to late 1890s. Larry Switzky's insightful analysis of the plays draws very tight links between the writing style and theme of each play. He argues that from a dramatic perspective these three plays are "virtuosic, experimental and wildly imaginative artworks, an exhibition of energy and innovation by a playwright reinventing the rules and forms he had inherited" (xi). Switzky's evaluation turns its focus to the political climate that Shaw was living through from Queen Victoria's Golden Jubilee to her death in 1901. ... Read More
PubDate: 2023-06-21T00:00:00-05:00
- Shavian Perspectives on the Cusp of Change and War
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Abstract: Chronologically, these three plays represent a very narrow era in Shaw's oeuvre: a single decade. Yet the breadth of these plays's themes, as well as the social moment each highlights, reveal individual and collective responses to social change, and/or war. When Shaw completed Pygmalion in 1913, no one knew the world would change utterly within a year. The Berlin premiere opened in October of 1913; the London production opened in April, 1914. By the time it transferred to New York in October of 1914, Europe was at war, but the United States was not yet involved, and Shaw became one of the only outspoken outliers regarding its support, which isolated him and damaged his social and theatrical reputation. Heartbreak ... Read More
PubDate: 2023-06-21T00:00:00-05:00
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