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In this creative study of history and popular culture, W. D. King ingeniously illustrates how a long-forgotten instance in theatre history can reveal the very process of historical change itself. Late in the nineteenth century, Henry Irving, the leading actor-manager of the English stage, was scathingly attacked by George Bernard Shaw for his popular performance in Conan Doyle's play, A Story of Waterloo. Shaw's review was one of the first onslaughts in a war against the old guard of the English stage, against Victorianism, against England and Empire itself. King's depiction of this event and its aftermath illuminates the period's crucial values and cultural issues, and is presented in a manner that is both convincing and highly entertaining. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1993.
'These highbrows must remember that there is a demand for little things as well as for big things'George Bernard Shaw was one of the leading playwrights and public intellectuals of the nineteenth and twentieth centuries. He helped propel drama towards the unexpected, into a realm where it might shock audiences into new viewpoints and into fresh understandings of society. Throughout his longwriting career Shaw wrote short plays, ranging in length from 1000-word puppet play, Shakes Versus Shav, to the 12,000-word suffragette comedy, Press Cuttings. These plays can be taken to illuminate Shaw's life and legacy, from ideas about war and patriotism in O'Flaherty, V.C. to censorship in TheShewing up of Blanco Posset.Surveying Shaw's entire career of writing short dramas, focusing especially on those years when his work in the form was particularly prolific (around 1909 and during the First World War), this collection places Shaw's short plays broadly into four key areas: farces, historical sketches, war dramas,and Shakespearean shorts. For each of these areas, the volume explores Shaw's aesthetic and thematic concerns, the precise historical and generic contexts in which the works were written, the major criticism and scholarship that has subsequently emerged, and the most notable stage and screenproductions. This collection reveals how a playwright often criticized for being too wordy was actually a master of the short form.