Realism and Reality. The Function of the Stage Directions in the New Drama from Thomas William Robertson to George Bernard Shaw

1970 ◽  
Vol 65 (2) ◽  
pp. 404
Author(s):  
George Rowell ◽  
Erika Meier
Keyword(s):  
George Bernard Shaw ◽  
Stage Directions ◽  
New Drama ◽  
William Robertson ◽  
Bernard Shaw

Margaret Macnamara: a ‘New Woman’ of the Independent Theatre Movement

2019 ◽  
Vol 35 (02) ◽  
pp. 112-120 ◽  
Author(s):  
Patricia Lufkin
Keyword(s):  
George Bernard Shaw ◽  
Female Participant ◽  
Woman Question ◽  
Feminist Critique ◽  
State University ◽  
Critical Response ◽  
Louisiana State University ◽  
New Drama ◽  
Bernard Shaw ◽  
Fabian Society

In this article Patricia Lufkin examines the work of Margaret Macnamara, a remarkable feminist playwright whose work has fallen into obscurity but who deserves attention as an important female participant in the Independent Theatre Movement and the Fabian Society. Macnamara’s associations and collaborations with key figures of the time, including George Bernard Shaw, are explored, and her progressive thought and participation in key organizations demonstrated. Importantly, Lufkin analyzes Macnamara’s play The Gates of the Morning (1908), highlighting its feminist critique of religion and its patriarchal influence. The critical response to her work was mixed, yet both positive and hostile reviews acknowledged that the play was a competent and stirring example of the new drama of progressive ideas, and helped to bring the ‘woman question’ to the forefront of people’s minds. Patricia Lufkin received her PhD from Louisiana State University, and is now teaching at Arkansas State University Mid-South. Her research focuses on early twentieth-century British theatre, most significantly on the life and work of Macnamara and Samuel Beckett.

scholarly journals “Sardoodledom” on the English Stage: T. W. Robertson and the Assimilation of Well-Made Play into the English Theatre

Text Matters ◽  
2020 ◽  
pp. 446-459
Author(s):  
Anna Prośniak
Keyword(s):  
Point Of View ◽  
George Bernard Shaw ◽  
Great Success ◽  
Critical Response ◽  
English Stage ◽  
Eugene Scribe ◽  
William Robertson ◽  
Bernard Shaw ◽  
Theatre Management

The article discusses a vital figure in the development of modern English theatre, Thomas William Robertson, in the context of his borrowings, inspirations, translations and adaptations of the French dramatic formula pièce bien faite (well-made play). The paper gives the definition and enumerates features of the formula created with great success by the French dramatist Eugène Scribe. Presenting the figure of Thomas William Robertson, the father of theatre management and realism in Victorian theatre, the focus is placed on his adaptations of French plays and his incorporation of the formula of the well-made play and its conventional dramatic devices into his original, and most successful, plays, Society and Caste. The paper also examines the critical response to the well-made play in England and dramatists who use its formula, especially from the point of view of George Bernard Shaw, who famously called the French plays of Scribe and Victorien Sardou—“Sardoodledom.”

Bernard Shaw's Beginnings on the London Stage

PMLA ◽  
1959 ◽  
Vol 74 (4-Part1) ◽  
pp. 470-481
Author(s):  
Irving McKee
Keyword(s):  
New Drama ◽  
Bernard Shaw ◽  
London Stage

In 1892, at the age of thirty-six, Bernard Shaw was a notorious socialist and a bachelor, living with his musical mother and sister in London. He had begun paying his way seven years before as a critic of art; now he assayed music; soon, in 1894, it was to be weekly evaluation of the drama. Four of his six novels—five of them written while his mother supported him—had appeared obscurely and unprofitably. In 1891 a young Dutch friend and fellow critic, Jacob T. Grein, had produced Ibsen's Ghosts to inaugurate the new Independent Theatre in support of Shaw's almost solitary campaign for the New Drama. Grein sought but could not at first find an adequate English play in the new vein. “This was not to be endured,” Shaw later recalled. “I had rashly taken up the case, and rather than let it collapse, I manufactured the evidence.” He had embarked upon Widowers' Houses in 1885 only to lay it aside uncompleted; he now finished it, and Grein produced it on 9 December 1892 at the Royalty Theatre, on quite unfashionable Dean Street in Soho. It was Shaw's first appearance on any stage.

scholarly journals PYGMALION: A STUDY OF SOCIO-SEMANTICS

2015 ◽  
Vol 21 (2) ◽  
pp. 202
Author(s):  
Mirjam Anugerahwati
Keyword(s):  
Communicative Competence ◽  
George Bernard Shaw ◽  
The Novel ◽  
The Subject ◽  
Bernard Shaw ◽  
The Way

This article discusses the novel Pygmalionby George Bernard Shaw (1957) which depicts Eliza, a flower girl from East London, who became the subject of an “experiment” by a Professor of Phonetics who vowed to change the way she spoke. The story is an excellent example of a very real and contextual portrait of how language, particularly socio-semantics, play a role in the achievement of communicative competence.

scholarly journals Análise descritiva da tradução de Millôr Fernandes para o português da peça “Pygmalion”, de George Bernard Shaw

2008 ◽  
pp. 67-83
Author(s):  
Priscila Fernanda Furlanetto
Keyword(s):  
George Bernard Shaw ◽  
Bernard Shaw

As obras de um dos mais conhecidos humoristas brasileiros, Millôr Fernandes, já foram bastante exploradas pelos pesquisadores de uma forma geral. Mesmo assim, há ainda uma vertente desse autor a ser estudada: o Millôr Tradutor.

Millennial Dark Ladies

2021 ◽  
Vol 33 (2) ◽  
pp. 79-92
Author(s):  
Katherine Scheil
Keyword(s):  
Women Writers ◽  
George Bernard Shaw ◽  
Central Figure ◽  
Anthony Burgess ◽  
Victorian Period ◽  
The Subject ◽  
Bernard Shaw

The Dark Lady evoked in Shakespeare’s Sonnets has been the subject of numerous speculations since the Victorian period. Several male writers and critics – George Bernard Shaw, Frank Harris, A. L. Rowse and Anthony Burgess, for example – have undertaken extended imaginative explorations of this alternative woman. More recently, the Dark Lady has become a central figure in millennial novels by women writers, designed primarily for a female reading audience. This article considers what’s at stake by placing this imaginary woman at the heart of Shakespeare’s artistic inspiration, and what this tells us about the meaning(s) of ‘Shakespeare’ for contemporary women writers and readers.

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