Relevant bibliographies by topics / Shaw, Bernard, English drama

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  1. Journal articles
  2. Dissertations / Theses
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  4. Book chapters

Academic literature on the topic 'Shaw, Bernard, English drama'

Author: Grafiati
Published: 4 June 2021
Last updated: 10 February 2022

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Journal articles on the topic "Shaw, Bernard, English drama"

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Christian. "“A Doll’s House Conquered Europe”: Ibsen, His English Parodists, and the Debate over World Drama." Humanities 8, no. 2 (April 22, 2019): 82. http://dx.doi.org/10.3390/h8020082.

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The London premieres of Henrik Ibsen’s plays in the late 1880s and 1890s sparked strong reactions both of admiration and disgust. This controversy, I suggest, was largely focused on national identity and artistic cosmopolitanism. While Ibsen’s English supporters viewed him as a leader of a new international theatrical movement, detractors dismissed him as an obscure writer from a primitive, marginal nation. This essay examines the ways in which these competing assessments were reflected in the English adaptations, parodies, and sequels of Ibsen’s plays that were written and published during the final decades of the nineteenth century, texts by Henry Herman and Henry Arthur Jones, Walter Besant, Bernard Shaw, Eleanor Marx and Israel Zangwill, and F. Anstey (Thomas Anstey Guthrie). These rewritings tended to respond to Ibsen’s foreignness in one of three ways: Either to assimilate the plays’ settings, characters, and values into normative Englishness; to exaggerate their exoticism (generally in combination with a suggestion of moral danger); or to keep their Norwegian settings and depict those settings (along with characters and ideas) as ordinary and familiar. Through their varying responses to Ibsen’s Norwegian origin, I suggest, these adaptations offered a uniquely practical and concrete medium for articulating ideas about the ways in which art shapes both national identity and the international community.
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Kardiansyah, Muhammad Yuseano. "Pygmalion Karya Bernard Shaw dalam Edisi 1957 dan 2000." Madah: Jurnal Bahasa dan Sastra 10, no. 1 (April 30, 2019): 75. http://dx.doi.org/10.31503/madah.v10i1.882.

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This research contains a comparative study on two printed drama scripts of Bernard Shaw’s “Pygmalion”. Here, the discussion covers a study toward two scripts published in 1957 and 2000, in the perspective of philology that demonstrates both textology and codicology. The objective of this research is to reveal the variation of Pygmalion printed scripts published in those two different years, 1957 and 2000. Eventually, through the analysis conducted to those two scripts, it is found that there are similarity and distinction, in which the distinction is in a form of variations between them, that also leads to the background of why such a variation could possibly be emerged. Dalam tulisan ini dibahas sebuah studi bandingan terhadap dua buku cetakan naskah drama berjudul Pygmalion karya Bernard Shaw. Di sini, pembahasan mencakup kajian yang dilakukan terhadap dua cetakan naskah drama yang dipublikasikan tahun 1957 dan 2000. Pembahasan yang dilakukan tidak hanya berkaitan dengan kajian filologi yang bersangkutan dengan tekstologi, tetapi juga mencakup kodikologi. Tujuan kajian filologi ini adalah untuk mengetahui variasi dari buku Pygmalion antara cetakan yang dipublikasikan pada 1957 dan cetakan yang dipublikasikan pada 2000 tersebut. Melalui analisis yang dilakukan terhadap dua buku tersebut, ditemukan persamaan dan juga perbedaan. Perbedaan yang ditemukan membentuk variasi antara kedua buku cetakan tersebut yang pada akhirnya juga diketahui latar belakang terciptanya variasi tersebut.
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Cardullo, Robert J. "Bernard Shaw, The Philanderer, and the (Un)Making of Shavian Drama." Neophilologus 96, no. 1 (April 3, 2011): 137–50. http://dx.doi.org/10.1007/s11061-011-9251-7.

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Kardiansyah, M. Yuseano. "English Drama in the Late of Victorian Period (1880-1901): Realism in Drama Genre Revival." TEKNOSASTIK 15, no. 2 (October 18, 2019): 64. http://dx.doi.org/10.33365/ts.v15i2.100.

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A progressive growth in literature was seen significantly during Victorian period. These decades also saw an overdue revival of drama, in which the existence of drama was started to improve when entering late of Victorian period. Along with that situation, Thomas William Robertson (1829-1871) emerged as a popular drama writer at that time besides the coming of Henrik Ibsen’s works in 1880’s. However, Robertson’s popularity was defeated by other dramatists during late of Victorian period (1880-1901), drama writer like Oscar Wilde (1854-1900). Beside Wilde, there were several well known dramatists during late of Victorian period. Dramatists as Shaw, Jones, and Pinero were also influential toward the development of drama at that time. In the discussion of English drama development, role of late Victorian period’s dramatists was really important toward the development of modern drama. Their works and efforts really influenced the triumph of realism and development of drama after Victorian period ended. Therefore, the development of drama during late of Victorian period is discussed in this particular writing, due to the important roles of dramatist such as Wilde, Shaw, Pinero, and Jones. Here, their roles to the revival of English drama and the trend of realism in the history of English literature are very important.
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Knijnik, Jorge, and Bob Petersen. "Bernard Shaw’s Admirable Bashville: Playwright and Prizefighter." Physical Culture and Sport. Studies and Research 58, no. 1 (June 1, 2013): 76–83. http://dx.doi.org/10.2478/pcssr-2013-0014.

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Abstract Bernard Shaw’s little blank-verse play, The Admirable Bashville, or, Constancy Unrewarded is a play where two types of performance, sport and drama, interact on the stage. It was written in 1901 and it was performed three times in London under Shaw's auspices in 1901, in 1904, and in January-February 1909. Its next performance was in Vienna in 1924; then it was performed in Sydney in 1927. Shaw was an enthusiastic admirer of the bare - knuckled art of fighting, though he has written Bashville as a portrait of a period when this art was disapearing to be replaced by the noble art of boxing, under the new Queenberry’s rulling. This essay examines both the play itself, throwing new lights over obscur characters of the play, such as Cetewayo the Black African king, and even over Bashville, the prize-fighter. As copyrights laws of that period did not guarantee Shaw’s rights over his works, the paper shows Shaw’s attempts to keep the copyrights over his work, by performing the play as many times and under any conditions. Under copyright laws he could lose all his rights if the play were performed by other producers beforehand. The Admirable Bashville is a minor play by a major playwright, and Shaw never pretended it was anything more.
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Mohammed, Shawqi Ali Daghem, and Dr Shaikh Samad. "The Comic Genius in Shaw’s Drama." SMART MOVES JOURNAL IJELLH 6, no. 10 (October 10, 2018): 12. http://dx.doi.org/10.24113/ijellh.v6i10.5094.

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George Bernard Shaw (1856 - 1950) the socialist, politician, economist, social reformer and the Nobel Laureate playwright, is one of the most venerable authors in the history of literature in general and the theater in particular. He is a great laughter making and thinking motivator, where his comedies always revealed the values of the time. His plays are enjoyable and resonating until today. In this respect, the current article aims to explore Shaw’s comic genius and his contributions to the art of comedy as a leading dramatist of the twentieth century. It reveals how he employs jokes and humour to deliver his philosophy and his intellectual judgment on life in a clever and amusing way. The paper describes the development of Shaw’s comic and technical style. It focuses on some of Shaw’s memorable comedies, which display his comic genius during his career.
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Jeoung, Haegap. "British Drama Corpus-based Analysis of Keywords and Lexical Bundles : Focusing on Shakespeare and Bernard Shaw." Journal of Language Sciences 25, no. 1 (February 28, 2018): 245–67. http://dx.doi.org/10.14384/kals.2018.25.1.245.

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Woods, Leigh. "‘The Wooden Heads of the People’: Arnold Daly and Bernard Shaw." New Theatre Quarterly 22, no. 1 (February 2006): 54–69. http://dx.doi.org/10.1017/s0266464x06000297.

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Once Arnold Daly and Bernard Shaw had got through their baptisms of fire in the transatlantic theatre of the 1890s, the circumstances for their future collaboration must have seemed propitious to them both. However, the Irish-American's inflexibility and the Anglo-Irishman's passion for control led to the fracturing of the relationship within the span of a few years in the first decade of the new century. The exposure of their work – in tandem in American vaudeville and later as competitors on the English variety stage – marked points of their disagreement and quirks in their difficult personalities as they scrambled for audiences who rarely appreciated them as much as both felt they deserved. Leigh Woods, Head of Theatre Studies at the University of Michigan, explores the breakdown of a partnership that launched one man on a course to oblivion and the other on a path to greater glory.
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Simpson, Stephen. "Theatre of Sound: Radio and the Drama of the Imagination. By Dermot Rattigan. Dublin: Carysfort Press, 2003; pp. 384. $27.95 paper." Theatre Survey 45, no. 1 (May 2004): 139–40. http://dx.doi.org/10.1017/s0040557404320089.

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Anyone old enough to remember the wailing sirens and portentous footsteps of Gangbusters or the clattering consequences of opening the closet door belonging to Fibber McGee and Molly probably has a soft spot for the radio dramas of the past. Those who never experienced the medium that George Bernard Shaw called “the invisible play” may lack a context. Admitting that you remember those nostalgic broadcasts dates you. In a world of HDTV, GPS, home THX, and digital imaging by cell phone, what good is radio?
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Rodríguez Martín, Gustavo A. "Comparison and other “Modes of Order” in the plays of Bernard Shaw." International Journal of English Studies 12, no. 2 (December 1, 2012): 151. http://dx.doi.org/10.6018/ijes/2012/2/161801.

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Bernard Shaw is widely regarded as one of the most important playwrights in the English language, ranking often second only to Shakespeare. This literary prominence, however, is not matched by a significant number of stylistic analyses, much more so in the case of linguistically-oriented ones. One of the few studies in Shaviana with a clear stylistic approach is Ohmann’s (1962) monograph. However, it focuses on Shaw’s non-dramatic writings and, due to its publication date, it does not utilize software tools for corpus stylistics. The purpose of this paper is to analyze Bernard Shaw’s use of certain comparative structures in his dramatic writings (what Ohmann calls ‘Modes of Order’ in his book) with the aid of the technical and methodological advances of computer-based stylistics, thus utilizing an innovative outlook because of the combination of stylistics and corpora research.
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Dissertations / Theses on the topic "Shaw, Bernard, English drama"

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Haddad, Rosalie Rahal. "Bernard Shaw's novels : his drama of ideas in embryo /." Trier : WVT Wissenschaftlicher Verl, 2004. http://catalogue.bnf.fr/ark:/12148/cb39193316k.

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Ananisarab, Soudabeh. "George Bernard Shaw and the Malvern Festival." Thesis, University of Nottingham, 2017. http://eprints.nottingham.ac.uk/35979/.

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The Malvern Festival was established by Sir Barry Jackson in association with the lessee of the Malvern Theatre, Roy Limbert, in 1929. The Festival continued for ten seasons as an annual event until the outbreak of World War II in 1939, and then returned for one final season in 1949. The Festival was initially dedicated to the works of George Bernard Shaw with the repertoire of the first season wholly composed of the plays of this playwright. While during its twelve seasons the Festival fluctuated in the extent of its association with Shaw, in total the Festival presented two world premieres of Shaw’s plays and four British premieres. Furthermore, in addition to its dramatic productions, the Festival also featured other activities such as talks and exhibitions and attracted an impressive list of visitors and speakers including Allardyce Nicoll and Gabriel Pascal as well as performers such as Cedric Hardwicke and Stephen Murray. This thesis explores the development of the Malvern Festival, an event which has thus far given rise to scant academic scholarship. I argue that rediscovering the Malvern Festival has the potential to reorientate common critical understanding of early twentieth-century English theatre and its key locations. While much of the British theatre scholarship of this period has been concerned with drama in the capital, this study of Malvern demonstrates that regional theatres at this time had the capability of offering experimental drama which often failed to attract the attention of theatre managers in London. As the high prices of rent in the metropolis limited the financial risk accepted by many theatre managers in the early twentieth century, individuals such as Shaw and Jackson amongst others turned their attention away from London to the regions for new opportunities in staging a more experimental repertoire. This study of the Malvern Festival demonstrates that while Jackson and Shaw initially considered the Festival as the solution to their troubles with playhouses in London’s West End, the Festival soon became entangled with those familiar debates of venue and repertoire, and ultimately failed after twelve seasons. In the organisation of the Festival, there were a number of damaging contradictions, some of which were also evident in the ventures preceding the Festival such as the movement for building a National Theatre in England and the Vedrenne-Barker seasons at the Court Theatre. The Festival had simultaneous links with both the non-metropolitan, as a result of its location in Malvern, and the urban, through its target audience of the metropolitan elite. Thus while the Festival was held in Malvern, as a result of Jackson’s guiding philosophy much of the local population in Malvern were excluded from the activities included in the Festival. Additionally, the identity of the Festival was intertwined with both a sense of nostalgia for the past and an outlook towards the future. While Jackson emphasised less well-known classics in the repertoire of the Festival, he also flew critics into Malvern, and Limbert extended the activities of the Festival by presenting modern talkies. Other contradictions included Jackson’s pursuit of critical praise for the Festival’s productions and his desire to experiment away from theatrical norms, in addition to the lack of certainty surrounding the focus of the Festival which fluctuated between an emphasis on a star playwright, Shaw, and Jackson’s aim to celebrate the literary canon. Moreover, some of these clashes were then exacerbated by the Shavian drama performed as part of the Festival. It was the difficulties in reconciling such contradictions which resulted in the Festival’s failure to remain as an annual event. However, in this thesis I argue that regardless of the Festival’s lack of financial and popular success, the Malvern Festival allowed Shaw the creative space to write some of his most experimental work, which was then explored in production as part of the Festival on the stage of the Malvern Theatre.
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Matchett, Grace. "The relationship of parents and children in the English domestic plays of George Bernard Shaw." Thesis, University of Glasgow, 1990. http://theses.gla.ac.uk/1851/.

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The aim of this thesis is to bring a new critical perspective to the English domestic plays of George Bernard Shaw by analysing them in the light of Shaw's treatment of parent-child relationships. A domestic play is one in which the plot or problem centres around a family and in which the setting is that family's permanent or temporary home. The period 1890 and 1914 has been chosen for three reasons: first, it was during this time that Shaw began and succeeded in his career as a dramatist; secondly, this period saw the growth of the `new drama' movement, which considered a discussion of sociological issues a prerequisite for responsible dramatic literature, and thirdly, changes within the theatre itself, most noticeably Granville Barker's seasons at the Court Theatre (1904-1907) gave Shaw the opportunity to have his work intelligently and artistically presented to a growing audience of literary discrimination and social awareness. Heartbreak House is included in this analysis because although not finished until 1917 it was begun in 1913. The thesis begins with an examination of the influences on Shaw which made the treatment of the parent-child relationship a central theme of his earliest plays. These are (a) Biographical (b) Sociological (c) Theatrical - (i) Nineteenth century Popular Theatre including Melodrama (ii) Ibsenism Section Two describes Shaw's treatment of parents and children in his novels. The aim of this section is to demonstrate that the family relationships that assume major significance in the plays are prefigured in the novels not simply thematically but formally. In Section Three the English domestic plays are placed in four categories under the schematic headings which sometimes overlap: (a) Single Parents, Widowers' Houses, The Philanderer, Man and Superman, Pygmalion, Heartbreak House (b) The Return of the Absent Parent, Mrs Warren's Profession, You Never Can Tell, Major Barbara (c) Substitute Parents, You Never Can Tell, Candida, Man and Superman, Pygmalion, Heartbreak House (d) Happy Families, Getting Married, Misalliance, Fanny's First Play, The conclusion is that Shaw, in expressing his opinions on the relationships of children and their parents in the English domestic plays as well as in his other writings, was challenging the conventions of conventional middle-class society while at the same time expressing, perhaps compulsively, his personal quest for his own `true' parents.
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Anderson, Haley D. "Female Agency in Restoration and Nineteenth-Century Drama." Scholar Commons, 2010. https://scholarcommons.usf.edu/etd/1560.

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This thesis examines issues of female agency in the plays The Rover and The Widow Ranter by Aphra Behn, Mrs. Warren's Profession by George Bernard Shaw, and Votes for Women! by Elizabeth Robins. The heroines of each of these plays work toward gaining agency for themselves, and in order to achieve this goal, they often stray from cultural norms of femininity and encroach on the masculine world. This thesis postulates that agency for women becomes a fluid notion, not statically defined. These plays show a fluctuating and evolving sense of feminine agency.
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Downing, Phoebe C. "Fabians and 'Fabianism' : a cultural history, 1884-1914." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:425127c1-94c1-4d20-ba58-fdd457c1f6b8.

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This thesis is a cultural history of the early Fabian Society, focusing on the decades between 1884, the Society’s inaugural year, and 1914. The canonical view is that ‘Fabianism,’ which the Oxford English Dictionary defines as the ‘doctrine and principles of the Fabian Society,’ is synonymous with State socialism and bureaucratic ‘efficiency.’ By bringing the methods of cultural history to bear on the Society’s founding members and decades, this thesis reveals that ‘Fabianism’ was in fact used as a dynamic metonymy, not a fixed doctrine, which signified a range of cultural, and even literary, meanings for British commentators in the 1890s and 1900s (Part 1). Further, by expanding the scope of traditional histories of the Fabian Society, which conventionally operate within political and economic sub-fields and focus on the Society’s ‘official’ literature, to include a close examination of the broader discursive context in which ‘Fabianism’ came into being, this thesis sets out to recover the symbolic aspects of the Fabians’ efforts to negotiate what ‘Fabianism’ meant to the English reading public. The Fabians’ conspicuous leadership in the modern education debates and the liberal fight for a ‘free stage,’ and their solidarity with the international political émigrés living in London at the turn of the twentieth century all contribute to this revised perspective on who the founding Fabians were, what they saw themselves as trying to achieve, and where the Fabian Society belonged—and was perceived to belong—in relation to British politics, culture, and society (Part 2). The original contribution of this thesis is the argument that the Fabians explicitly and implicitly evoked Matthew Arnold as a precursor in their efforts to articulate a kind of Fabian—latterly social-democratic—liberalism and a public vocation that balanced English liberties and the duty of the State to provide the ‘best’ for its citizens in education and in culture, as in politics.
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Valley, Leslie Ann. "Replacing the Priest: Tradition, Politics, and Religion in Early Modern Irish Drama." Digital Commons @ East Tennessee State University, 2009. https://dc.etsu.edu/etd/1856.

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By the beginning of the twentieth century, Ireland's identity was continually pulled between its loyalties to Catholicism and British imperialism. In response to this conflict of identity, W. B. Yeats and Lady Augusta Gregory argued the need for an Irish theatre that was demonstrative of the Irish people, returning to the literary traditions to the Celtic heritage. What resulted was a questioning of religion and politics in Ireland, specifically the Catholic Church and its priests. Yeat's own drama removed the priests from the stage and replaced them with characters demonstrative of those literary traditions, establishing what he called a "new priesthood". In response to this removal, Yeat's contemporaries such as J. M. Synge and Bernard Shaw evolved his vision, creating a criticism and, ultimately, a rejection of Irish priests. In doing so, these playwrights created depictions of absent, ineffectual, and pagan priests that have endured throughout the twentieth century.
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Books on the topic "Shaw, Bernard, English drama"

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Bernard Shaw. New York: Limelight Eds., 1985.

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Eric, Bentley. Bernard Shaw. New York: Applause Theater & Cinema Books, 2002.

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1929-, Weintraub Stanley, ed. The portable Bernard Shaw. New York: Penguin Books, 1986.

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Pharand, Michel W. Bernard Shaw and the French. Gainesville: University Press of Florida, 2000.

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George Bernard Shaw, his religion & values. Delhi, India: Mittal Publications, 1985.

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Santos, Antonio López. Bernard Shaw y el teatro de vanguardia. Salamanca [Spain]: Universidad de Salamanca, 1989.

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Chen, Wendi. The reception of George Bernard Shaw in China, 1918-1996. Lewiston, N.Y: E. Mellen Press, 2002.

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Shaw, Plato, and Euripides: Classical currents in Major Barbara. Gainesville: University Press of Florida, 2012.

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Plays. New York: Signet Classics, 2004.

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Bernard Shaw's remarkable religion: A faith that fits the facts. Gainesville: University Press of Florida, 2002.

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Book chapters on the topic "Shaw, Bernard, English drama"

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Schäffner, Raimund. "George Bernard Shaw." In Kindler Kompakt: Drama des 20. Jahrhunderts, 74–75. Stuttgart: J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-04526-3_12.

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Harben, Niloufer. "George Bernard Shaw: Saint Joan." In Twentieth-Century English History Plays, 22–62. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-09007-5_2.

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Yde, Matthew. "Shaw’s Totalitarian Drama of the Thirties; or, Shaw and the Dictators: Geneva, The Millionairess, The Simpleton of the Unexpected Isles." In Bernard Shaw and Totalitarianism, 143–84. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137330208_6.

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Hadfield, D. A. "Beyond Married Love: Shaw, Stopes, and Female Desire in the Drama Between the Wars, 1923–1934." In Bernard Shaw's Marriages and Misalliances, 159–74. New York: Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-349-95170-3_10.

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Innes, Christopher. "Defining Irishness: Bernard Shaw and the Irish Connection on the English Stage." In A Companion to Irish Literature, 35–49. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444328066.ch31.

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Chothia, Jean. "George Bernard Shaw." In English Drama of the Early Modern Period, 1890–1940, 154–77. Routledge, 2016. http://dx.doi.org/10.4324/9781315504216-6.

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O’Flaherty, Gearóid. "George Bernard Shaw and Ireland." In The Cambridge Companion to Twentieth-Century Irish Drama, 122–35. Cambridge University Press, 2004. http://dx.doi.org/10.1017/ccol0521804000.009.

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"Victorian drama: Ibsen, Chekhov, Shaw and Wilde." In English Literature, 275–81. Routledge, 2013. http://dx.doi.org/10.4324/9781315838274-26.

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Wixson, Christopher. "1. ‘GBS’." In George Bernard Shaw: A Very Short Introduction, 5–19. Oxford University Press, 2020. http://dx.doi.org/10.1093/actrade/9780198850090.003.0002.

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‘GBS’ explores George Bernard Shaw’s early years in Dublin, the forging of his professional roots in London, and the creation of his ‘GBS’ persona. While he would often belie the extent of their influence, his earliest experiences sowed the seeds of that distinctive political and artistic Shavian sensibility. Taking up the mantle of public advocacy, the young Shaw became a sought-after tract writer, speech giver, debater, and activist crusader on behalf of a variety of social causes. He also worked as an art, music, book, and drama reviewer for a number of periodicals. For Shaw, journalism represented an opportunity to inform, inspire, and provoke the public directly.
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Garden, Alison. "Saint Casement." In The Literary Afterlives of Roger Casement, 1899-2016, 105–28. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621815.003.0005.

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This chapter explores Casement’s afterlives in drama, arguing that the intermedial recycling of various aspects of Casement’s life, legacy and politics continue to fascinate dramatists. The first play discussed is George Bernard Shaw’s Saint Joan (1923) and, reading Shaw’s play alongside copious archival sources, this chapter seeks to assess the extent of the relationship - political, historical and imaginative - between Shaw and Casement. David Rudkin’s radio play, Cries from Casement as His Bones are Brought to Dublin, uses the power of voice and accent to eruditely and creatively stage Casement’s contradictory and evolving sense of identity. Finally, this chapter explicates how Martin McDonagh’s use of Casement in The Lieutenant of Inishmore (2001) is glancing but powerful, testifying to the power that Irish history can continue to hold on contemporary politics, even if it is misunderstood and misplaced.
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