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Holroyd has done a masterly job of cutting down his huge biography to a lively and manageable one-volume life - the definitive Shaw for the general reader and the student. It has verve and pace, the light and shade of his life are emphasized, digressions cut, and Shaw comes over just as much larger than life as he always was, just as contrary, and even more sympathetically and movingly portrayed. This is a dazzling portrait of the man and his age.
"We regard Mr. Holroyd with awe, as a prodigy among biographers."—The New York Times Book Review In a single-volume format, Michael Holroyd's masterpiece of a biography offers new verve and pace; Shaw's world is more dramatically revealed as Holroyd counterpoints the private and public Shaw with inimitable insight and scholarship.
George Bernard Shaw demanded truth and despised convention. He punctured hollow pretensions and smug prudishness—coating his criticism with ingenious and irreverent wit. In Mrs. Warren’s Profession, Arms and the Man, Candida, and Man and Superman, the great playwright satirizes society, military heroism, marriage, and the pursuit of man by woman. From a social, literary, and theatrical standpoint, these four plays are among the foremost dramas of the age—as intellectually stimulating as they are thoroughly enjoyable. “My way of joking is to tell the truth: It is the funniest joke in the world.”—G. B. Shaw With an Introduction by Eric Bentley and an Afterword by Norman Lloyd
(Applause Books). "With the single exception of Homer, there is no eminent writer, not even Sir Walter Scott, whom I can despise so entirely as I despise Shakespeare when I measure my mind against his." - From SHAW ON SHAKESPEARE Celebrated playwright, critic and essayist George Bernard Shaw was more like the Elizabethan master that he would ever admit. Both men were intristic dramatists who shared a rich and abiding respect for the stage. Shakespeare was the produce of a tempestuous and enlightening era under the reign of his patron, Queen Elizabeth I; while G.B.S. reflected the racy and risque spirt of the late 19th century as the champion of modern drama by playwrights like Ibsen, and, later, himself. Culled from Shaw's reviews, prefaces, letters to actors and critics, and other writings, SHAW ON SHAKESPEARE offers a fascinating and unforgettable portrait of the 16th century playwright by his most outspoken critic. This is a witty and provocative classic that combines Shaw's prodigious critical acumen with a superlative prose style second to none (except, perhaps, Shakespeare!).
George Bernard Shaw is one of the most famous and celebrated Irish playwrights and this new collection brings together the very best of his witty and entertaining comedies in one volume; Pygmalion, Major Barbara and Androcles and the Lion. Part of the Macmillan Collector’s Library; a series of stunning, clothbound, pocket-sized classics with gold foiled edges and ribbon markers. These beautiful books make perfect gifts or a treat for any book lover. This edition has a preface by Oscar-winning actress Judi Dench. Pygmalion was first performed in 1914 and was an instant hit which then inspired the hit musical and award winning film, My Fair Lady. It tells the story of Eliza Doolittle and Henry Higgins, who tries to elevate a feisty flower girl out of her working-class roots and into high society. In Major Barbara, idealistic Barbara is a major in the Salvation Army, at odds with her millionaire father as they war over the best route to salvation. Androcles and the Lion is a clever retelling of the Bible story about a gentle Christian who pulls a thorn from a lion’s paw. All three plays are not only wonderfully amusing, they also showcase Shaw's intense concerns about poverty, class and inequality.
This book explores, through a multidisciplinary approach, the immense influence exerted by Bernard Shaw on the Spanish-speaking world on both sides of the Atlantic. This collection of essays encompasses the reception and dissemination of his ideas; the translation of his works into Spanish; the performance history of his plays in Spain and Latin America; and Shaw’s influence on many key figures of literature in Spanish. It begins by delving into Shaw’s knowledge of Spanish literature and gauging his acquaintance with the Spanish cultural milieu throughout his tenure as an art, music, and theatre critic. His early exposure to Spanish-speaking culture later made the return trip in the form of profuse critical reception and theatrical success in countries like Spain, Argentina, Mexico, and Uruguay. This allows for a more detailed investigation into the unmistakable mark that Bernard Shaw left in the oeuvre of leading Spanish-speaking authors like Ramiro de Maeztu, Jorge Luis Borges or Nemesio Canales. This volume also assesses the translations of Shaw’s works into Spanish—while also providing a detailed publication history of these translations.
Scholars have long highlighted the links between translating and (re)writing, increasingly blurring the line between translations and so-called 'original' works. Less emphasis has been placed on the work of writers who translate, and the ways in which they conceptualize, or even fictionalize, the task of translation. This book fills that gap and thus will be of interest to scholars in linguistics, translation studies and literary studies. Scrutinizing translation through a new lens, Judith Woodsworth reveals the sometimes problematic relations between author and translator, along with the evolution of the translator's voice and visibility. The book investigates the uses (and abuses) of translation at the hands of George Bernard Shaw, Gertrude Stein and Paul Auster, prominent writers who bring into play assorted fictions as they tell their stories of translations. Each case is interesting in itself because of the new material analysed and the conclusions reached. Translation is seen not only as an exercise and fruitful starting point, it is also a way of paying tribute, repaying a debt and cementing a friendship. Taken together, the case studies point the way to a teleology of translation and raise the question: what is translation for? Shaw, Stein and Auster adopt an authorial posture that distinguishes them from other translators. They stretch the boundaries of the translation proper, their words spilling over into the liminal space of the text; in some cases they hijack the act of translation to serve their own ends. Through their tales of loss, counterfeit and hard labour, they cast an occasionally bleak glance at what it means to be a translator. Yet they also pay homage to translation and provide fresh insights that continue to manifest themselves in current works of literature. By engaging with translation as a literary act in its own right, these eminent writers confer greater prestige on what has traditionally been viewed as a subservient art.
The Irish Dramatic Revival was to radically redefine Irish theatre and see the birth of Ireland's national theatre, the Abbey, in 1904. From a consideration of such influential precursors as Boucicault and Wilde, Anthony Roche goes on to examine the role of Yeats as both founder and playwright, the one who set the agenda until his death in 1939. Each of the major playwrights of the movement refashioned that agenda to suit their own very different dramaturgies. Roche explores Synge's experimentation in the creation of a new national drama and considers Lady Gregory not only as a co-founder and director of the Abbey Theatre but also as a significant playwright. A chapter on Shaw outlines his important intervention in the Revival. O'Casey's four ground-breaking Dublin plays receive detailed consideration, as does the new Irish modernism that followed in the 1930s and which also witnessed the founding of the Gate Theatre in Dublin. The Companion also features interviews and essays by leading theatre scholars and practitioners Paige Reynolds, P.J. Mathews and Conor McPherson who provide further critical perspectives on this period of radical change in modern Irish theatre.