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This dream episode from Man and Superman forms a play within the play, consisting of a dramatic reading in which the Devil himself comments on heaven and hell, good and evil, and human purpose.
Renaissance man George Bernard Shaw dabbled in economics, criticism and activism, but was best known for his large body of dramatic work, including his 1903 masterpiece Man and Superman. Dedicated to developing fully fleshed-out characters, Shaw wrote The Revolutionist's Handbook and Pocket Companion in the guise of the protagonist of Man and Superman, John Tanner. The booklet lays out the character's philosophy and political views.
Man and Superman: A Comedy and a Philosophy Bernard Shaw - Shaw began writing Man and Superman in 1901 and determined to write a play that would encapsulate the new century's intellectual inheritance. Shaw drew not only on Byron's verse satire, but also on Shakespeare, the Victorian comedy fashionable in his early life, and from authors from Conan Doyle to Kipling. In this powerful drama of ideas, Shaw explores the role of the artist, the function of women in society, and his theory of Creative Evolution. As Stanley Weintraub says in his new introduction, this is "the first great twentieth-century English play" and remains a classic exposé of the eternal struggle between the sexes.
Most philosophy has rejected the theater, denouncing it as a place of illusion or moral decay; the theater in turn has rejected philosophy, insisting that drama deals in actions, not ideas. Challenging both views, The Drama of Ideas shows that theater and philosophy have been crucially intertwined from the start. Plato is the presiding genius of this alternative history. The Drama of Ideas presents Plato not only as a theorist of drama, but also as a dramatist himself, one who developed a dialogue-based dramaturgy that differs markedly from the standard, Aristotelian view of theater. Puchner discovers scores of dramatic adaptations of Platonic dialogues, the most immediate proof of Plato's hitherto unrecognized influence on theater history. Drawing on these adaptations, Puchner shows that Plato was central to modern drama as well, with figures such as Wilde, Shaw, Pirandello, Brecht, and Stoppard using Plato to create a new drama of ideas. Puchner then considers complementary developments in philosophy, offering a theatrical history of philosophy that includes Kierkegaard, Nietzsche, Burke, Sartre, Camus, and Deleuze. These philosophers proceed with constant reference to theater, using theatrical terms, concepts, and even dramatic techniques in their writings. The Drama of Ideas mobilizes this double history of philosophical theater and theatrical philosophy to subject current habits of thought to critical scrutiny. In dialogue with contemporary thinkers such as Martha Nussbaum, Iris Murdoch, and Alain Badiou, Puchner formulates the contours of a "dramatic Platonism." This new Platonism does not seek to return to an idealist theory of forms, but it does point beyond the reigning philosophies of the body, of materialism and of cultural relativism.
Man and Superman: A Comedy and a Philosophy by Bernard Shaw Man and Superman is a massive drama filled with light comedy and deep philosophy, based on Nietzsche's theory of the Abermensch or superman. Acts I, II, and IV play like a romantic comedy with a bite. Ann Whitefield relentlessly pursues dedicated bachelor Jack Tanner, not giving up until he agrees to marry her. Nobody likes Ann, least of all Tanner; she's a selfish bully. But, she is imbued with the Life Force, which makes her charmingly irresistible. By contrast, the third act of the play takes place in hell and the main characters take on the roles of Mozart's Don Giovanni. There, they engage in a long philosophical discussion about the eternal conflicts between men and women and heaven and hell. This third act provides a philosophical context within which to understand the other three acts, giving the comedy and romance of Acts I, II, and IV a deeper meaning. In execution, however, Act III is almost always removed. The third act has also been performed separately, as a single act titled Don Juan in Hell.