abstract:Annabelle Comyn is an award-winning director and is artistic director of Hatch Productions. Comyn directed two major productions of works by George Bernard Shaw at the Abbey Theatre, Dublin, Pygmalion (2011) and Major Barbara (2013). In this interview, Comyn discusses her experiences of directing Shaw's plays at the Abbey and in working with cast members on the various aspects of bringing Shaw's plays to the stage, as well as the legacy of Shaw in Irish theater today.
{"title":"Directing Bernard Shaw at the Abbey Theatre: Interview with Annabelle Comyn","authors":"B. Houlihan","doi":"10.5325/shaw.40.2.0265","DOIUrl":"https://doi.org/10.5325/shaw.40.2.0265","url":null,"abstract":"abstract:Annabelle Comyn is an award-winning director and is artistic director of Hatch Productions. Comyn directed two major productions of works by George Bernard Shaw at the Abbey Theatre, Dublin, Pygmalion (2011) and Major Barbara (2013). In this interview, Comyn discusses her experiences of directing Shaw's plays at the Abbey and in working with cast members on the various aspects of bringing Shaw's plays to the stage, as well as the legacy of Shaw in Irish theater today.","PeriodicalId":40781,"journal":{"name":"Shaw-The Journal of Bernard Shaw Studies","volume":"14 1","pages":"265 - 272"},"PeriodicalIF":0.0,"publicationDate":"2021-01-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90501500","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
abstract:Can we still take Shaw seriously? In terms of his views on medicine and science, philosophy and religion, the answer has to be "no." On economics and politics, the issue is more doubtful, but there too, probably, the answer must also be "no." It is hardly surprising that it should be so. Shaw was born in 1856 and lived almost half of his long life in the reign of Queen Victoria. Many of his opinions were formed early, and though modified and developed later, almost never fundamentally altered. Times change and we change with them, so all of seventy years after Shaw's death in 1950, it might well be expected that the immutable Shavian positions should look outmoded. This article explores why Shaw came to adopt the intransigent opinions he did, and how his no longer fashionable ideas affect our reception of his plays.
{"title":"Can We Still Take Shaw Seriously?","authors":"Nicholas Grene","doi":"10.5325/shaw.40.2.0176","DOIUrl":"https://doi.org/10.5325/shaw.40.2.0176","url":null,"abstract":"abstract:Can we still take Shaw seriously? In terms of his views on medicine and science, philosophy and religion, the answer has to be \"no.\" On economics and politics, the issue is more doubtful, but there too, probably, the answer must also be \"no.\" It is hardly surprising that it should be so. Shaw was born in 1856 and lived almost half of his long life in the reign of Queen Victoria. Many of his opinions were formed early, and though modified and developed later, almost never fundamentally altered. Times change and we change with them, so all of seventy years after Shaw's death in 1950, it might well be expected that the immutable Shavian positions should look outmoded. This article explores why Shaw came to adopt the intransigent opinions he did, and how his no longer fashionable ideas affect our reception of his plays.","PeriodicalId":40781,"journal":{"name":"Shaw-The Journal of Bernard Shaw Studies","volume":"14 1","pages":"176 - 187"},"PeriodicalIF":0.0,"publicationDate":"2021-01-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82957644","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
abstract:This article investigates the origins of Bernard Shaw's interest in the voice and traces the effects on his work. Conducting a contextual analysis of The Voice (1870), a singer's handbook issued by his surrogate father George J. Lee, it finds its ideas resurfacing throughout Shaw's writing life and describes how Shaw's early attention to what Barthes calls "the grain of the voice" thus became an obsession. Shaw's conception of the voice in practice and his portrayal of communication, presence, and truth are illuminated by dialogue with actress Florence Farr, not only played out in Pygmalion, Caesar and Cleopatra, and Saint Joan, but answered by the ritual vocalizations of Farr's Egyptian plays. Tracing Pygmalion's connection with Lee's musical exhortations allows space, potentially, for Eliza as female vocalist to move from mechanized automaton to the singer's gendered semiautonomy, elucidating nineteenth-century origins of contemporary anxieties around media, gender, and technology.
本文探讨了萧伯纳对声音兴趣的来源，并追溯了这种兴趣对其作品的影响。作者对萧伯纳的代理父亲乔治·j·李(George J. Lee)于1870年出版的一本歌手手册《声音》(The Voice)进行了语境分析，发现其中的思想在萧伯纳的写作生涯中重新出现，并描述了萧伯纳早年对巴特所说的“声音的质感”的关注如何因此成为一种痴迷。萧伯纳在实践中对声音的概念，以及他对交流、存在和真理的描绘，都在他与女演员弗洛伦斯·法尔的对话中得到了阐释，这些对话不仅出现在《皮格马利翁》、《凯撒与克利奥帕特拉》和《圣女贞德》中，而且也在法尔的埃及戏剧中得到了回应。追溯皮格马利翁与李的音乐告诫之间的联系，可能会让伊丽莎作为女歌手从机械化的自动机转向歌手的性别半自主，从而阐明19世纪围绕媒体、性别和技术的当代焦虑的起源。
{"title":"\"True of Voice\": Shaw, Florence Farr, and George J. Lee's The Voice","authors":"A. Paterson","doi":"10.5325/shaw.40.2.0116","DOIUrl":"https://doi.org/10.5325/shaw.40.2.0116","url":null,"abstract":"abstract:This article investigates the origins of Bernard Shaw's interest in the voice and traces the effects on his work. Conducting a contextual analysis of The Voice (1870), a singer's handbook issued by his surrogate father George J. Lee, it finds its ideas resurfacing throughout Shaw's writing life and describes how Shaw's early attention to what Barthes calls \"the grain of the voice\" thus became an obsession. Shaw's conception of the voice in practice and his portrayal of communication, presence, and truth are illuminated by dialogue with actress Florence Farr, not only played out in Pygmalion, Caesar and Cleopatra, and Saint Joan, but answered by the ritual vocalizations of Farr's Egyptian plays. Tracing Pygmalion's connection with Lee's musical exhortations allows space, potentially, for Eliza as female vocalist to move from mechanized automaton to the singer's gendered semiautonomy, elucidating nineteenth-century origins of contemporary anxieties around media, gender, and technology.","PeriodicalId":40781,"journal":{"name":"Shaw-The Journal of Bernard Shaw Studies","volume":"48 1","pages":"116 - 146"},"PeriodicalIF":0.0,"publicationDate":"2021-01-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91247625","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
abstract:Bernard Shaw had ambitions much beyond the usual playwright and thus left a legacy of unusual size and scope, of nothing less than a "world-betterer," plausible considering the global reach of the British Empire, which needed a lot of "bettering." Less plausible because the would-be "betterer" was an unknown Irish immigrant whose unique style of writing and speaking in combinations of workaday prose mixed with hyperbole, paradox, irony, satire, and leg-pulling levity, though eye-catching, confused some who couldn't tell literal from figurative. Fintan O'Toole in his recent book, Judging Shaw, likened the way Shaw conducted his "world-bettering" to a man on a high wire without a net. This article discusses the risky way Shaw conducted himself on this "high wire," focusing on his promotion of a new science-based religion called "Creative Evolution," which he adapted from Henri Bergson's version of it to a semireligious approach that presented "Creative Evolution" as an evolution from and "bettering" of Christianity.
{"title":"Shaw's High Wire Act","authors":"R. Dietrich","doi":"10.5325/shaw.40.2.0214","DOIUrl":"https://doi.org/10.5325/shaw.40.2.0214","url":null,"abstract":"abstract:Bernard Shaw had ambitions much beyond the usual playwright and thus left a legacy of unusual size and scope, of nothing less than a \"world-betterer,\" plausible considering the global reach of the British Empire, which needed a lot of \"bettering.\" Less plausible because the would-be \"betterer\" was an unknown Irish immigrant whose unique style of writing and speaking in combinations of workaday prose mixed with hyperbole, paradox, irony, satire, and leg-pulling levity, though eye-catching, confused some who couldn't tell literal from figurative. Fintan O'Toole in his recent book, Judging Shaw, likened the way Shaw conducted his \"world-bettering\" to a man on a high wire without a net. This article discusses the risky way Shaw conducted himself on this \"high wire,\" focusing on his promotion of a new science-based religion called \"Creative Evolution,\" which he adapted from Henri Bergson's version of it to a semireligious approach that presented \"Creative Evolution\" as an evolution from and \"bettering\" of Christianity.","PeriodicalId":40781,"journal":{"name":"Shaw-The Journal of Bernard Shaw Studies","volume":"4 1","pages":"214 - 246"},"PeriodicalIF":0.0,"publicationDate":"2021-01-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84650744","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
abstract:This year, 2020, is a time to celebrate the exceptional benefaction of George Bernard Shaw to the National Gallery of Ireland. For seventy years the Gallery has enjoyed the fruits of his enduring success. This is based upon his writings, the multiple performances of his plays, and in particular the success of My Fair Lady. In his will he assigned one-third of his royalties to the Gallery after his death in 1950. The other part is split evenly between RADA and the British Museum in the United Kingdom. This year is, of course, also a year to lament. The period of copyright lapses and no more royalties will come our way. Even sadder, for the first time ever there were no payments this summer, as the pandemic closed theaters across the world. This piece explores Shaw's magnificent contribution to the Gallery and encourages philanthropy to cultural institutions.
{"title":"Shaw's Legacy at the National Gallery of Ireland","authors":"Sean Rainbird","doi":"10.5325/shaw.40.2.0302","DOIUrl":"https://doi.org/10.5325/shaw.40.2.0302","url":null,"abstract":"abstract:This year, 2020, is a time to celebrate the exceptional benefaction of George Bernard Shaw to the National Gallery of Ireland. For seventy years the Gallery has enjoyed the fruits of his enduring success. This is based upon his writings, the multiple performances of his plays, and in particular the success of My Fair Lady. In his will he assigned one-third of his royalties to the Gallery after his death in 1950. The other part is split evenly between RADA and the British Museum in the United Kingdom. This year is, of course, also a year to lament. The period of copyright lapses and no more royalties will come our way. Even sadder, for the first time ever there were no payments this summer, as the pandemic closed theaters across the world. This piece explores Shaw's magnificent contribution to the Gallery and encourages philanthropy to cultural institutions.","PeriodicalId":40781,"journal":{"name":"Shaw-The Journal of Bernard Shaw Studies","volume":"25 1","pages":"302 - 304"},"PeriodicalIF":0.0,"publicationDate":"2021-01-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88261218","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
we learn that “this thesis focuses on female comic characters in modern drama as they relate to the emergence of first-wave feminism in late-nineteenth and early-twentieth-century Britain. More specifically, it examines the position of the figure of the new woman within the conventions of traditional comedy. Analyzing specific character traits and elements of dramatic composition that allow this figure to exist within the comic form, I consider how select playwrights deploy comedy in order to shape the reception of the new woman. Using three case studies that include parodies of Henrik Ibsen’s plays, suffrage comedy, and the work of George Bernard Shaw, I explore how comedy was used in different contexts to both empower and diminish the complexity of the new woman. I conclude that the comic new woman was defined by her reassessment and re-inscription on the modern stage as well as the social, political, and cultural change she facilitated.” Available at http://theses .ucalgary.ca//handle/11023/2326. Hasim, Wakhid. The Defense Mechanism of Raina Petkoff in George Bernard Shaw’s Arms and the Man Play: A Psychoanalytic Approach. B.A. dissertation. Universitas Muhammadiyah Surakarta (Indonesia). 2015. Examines how the defense mechanism is reflected in Arm and the Man. “The purpose of this study is to analyze the personality of the main characters by making use of the structural elements and a psychoanalytic perspective.” Available at http://eprints.ums.ac.id/33159/. Isabel Estrada, Mo Antonia de. George Bernard Shaw y John Osborne: Recepción y Recreación de su Teatro en España durante el Franquismo. Ph.D. thesis. Universidad Complutense de Madrid. 2001. The work revolves around the censorship files for Shaw’s and Osborne’s plays, and how the texts were banned or amended prior to production in Spain. The censors’ verdicts on their works during Franco’s regime also lead to a broader discussion on the cultural life in Spain over a 40-year period. MacWhirter, Kristin. Heartbreak House, 1959: A Fantasia in What Manner? M.F.A. thesis. University of Calgary. 2014. It “is a reconstruction of the 1959 Broadway production” of Heartbreak House in light of the ramifications of the Cold War. As a consequence, the production betrayed Shaw’s original intention to a certain extent. Thus, “public and critics alike saw the show as a delightful bit of spectacle and ignored the message.” Available at http://theses.ucalgary.ca/bitstream/11023/1781/2/ ucalgary_2014_macwhirter_kristal.pdf. Maher, Ashley Kaitlin. Among the Modernist Ruins: British Writing and the Architecture of the State. Ph.D. thesis. Washington University, St. Louis. 2014. The abstract indicates the thesis discusses Shaw’s architecture a C o n t I n u I n G C H e C K L I S t o F S H av I a n a 339 criticism: “when Britain’s foremost modern architectural group needed a public figure to provide an anti-traditionalist introduction for the opening of their 1938 public exhibition, an aging George Bernard Shaw
{"title":"A Continuing Checklist of Shaviana","authors":"G. A. R. Martín","doi":"10.5325/shaw.42.2.0502","DOIUrl":"https://doi.org/10.5325/shaw.42.2.0502","url":null,"abstract":"we learn that “this thesis focuses on female comic characters in modern drama as they relate to the emergence of first-wave feminism in late-nineteenth and early-twentieth-century Britain. More specifically, it examines the position of the figure of the new woman within the conventions of traditional comedy. Analyzing specific character traits and elements of dramatic composition that allow this figure to exist within the comic form, I consider how select playwrights deploy comedy in order to shape the reception of the new woman. Using three case studies that include parodies of Henrik Ibsen’s plays, suffrage comedy, and the work of George Bernard Shaw, I explore how comedy was used in different contexts to both empower and diminish the complexity of the new woman. I conclude that the comic new woman was defined by her reassessment and re-inscription on the modern stage as well as the social, political, and cultural change she facilitated.” Available at http://theses .ucalgary.ca//handle/11023/2326. Hasim, Wakhid. The Defense Mechanism of Raina Petkoff in George Bernard Shaw’s Arms and the Man Play: A Psychoanalytic Approach. B.A. dissertation. Universitas Muhammadiyah Surakarta (Indonesia). 2015. Examines how the defense mechanism is reflected in Arm and the Man. “The purpose of this study is to analyze the personality of the main characters by making use of the structural elements and a psychoanalytic perspective.” Available at http://eprints.ums.ac.id/33159/. Isabel Estrada, Mo Antonia de. George Bernard Shaw y John Osborne: Recepción y Recreación de su Teatro en España durante el Franquismo. Ph.D. thesis. Universidad Complutense de Madrid. 2001. The work revolves around the censorship files for Shaw’s and Osborne’s plays, and how the texts were banned or amended prior to production in Spain. The censors’ verdicts on their works during Franco’s regime also lead to a broader discussion on the cultural life in Spain over a 40-year period. MacWhirter, Kristin. Heartbreak House, 1959: A Fantasia in What Manner? M.F.A. thesis. University of Calgary. 2014. It “is a reconstruction of the 1959 Broadway production” of Heartbreak House in light of the ramifications of the Cold War. As a consequence, the production betrayed Shaw’s original intention to a certain extent. Thus, “public and critics alike saw the show as a delightful bit of spectacle and ignored the message.” Available at http://theses.ucalgary.ca/bitstream/11023/1781/2/ ucalgary_2014_macwhirter_kristal.pdf. Maher, Ashley Kaitlin. Among the Modernist Ruins: British Writing and the Architecture of the State. Ph.D. thesis. Washington University, St. Louis. 2014. The abstract indicates the thesis discusses Shaw’s architecture a C o n t I n u I n G C H e C K L I S t o F S H av I a n a 339 criticism: “when Britain’s foremost modern architectural group needed a public figure to provide an anti-traditionalist introduction for the opening of their 1938 public exhibition, an aging George Bernard Shaw","PeriodicalId":40781,"journal":{"name":"Shaw-The Journal of Bernard Shaw Studies","volume":"19 10","pages":"341 - 396"},"PeriodicalIF":0.0,"publicationDate":"2021-01-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72411960","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
abstract:This article explores the reception of Shaw's oeuvre in Iran to analyze the ways in which Iranian readers and audiences have read, understood, and used Shaw's work to comment on Iranian sociopolitical issues. Bozorg Alavi, a founding member of Iran's leading communist party, first introduced Iranian readers to Shaw through his translation of Mrs. Warren's Profession (1928). Since then, Shaw has appeared as a recurring point of reference for intellectuals with leftist sympathies in Iran in their pursuits of a range of reform agendas. This article focuses specifically on the mid-twentieth century, a politically turbulent time in which much of the resistance movements that led to the 1979 revolution emerged. It uses translations, criticisms, and productions of Shaw's work in addition to original analyses of Shaw's plays in dialogue with Iranian literature and politics to analyze Shaw's presence in debates surrounding issues of gender, national identity, and political freedom.
{"title":"Shaw in Mid-Twentieth-Century Iran","authors":"Soudabeh Ananisarab","doi":"10.5325/shaw.40.2.0147","DOIUrl":"https://doi.org/10.5325/shaw.40.2.0147","url":null,"abstract":"abstract:This article explores the reception of Shaw's oeuvre in Iran to analyze the ways in which Iranian readers and audiences have read, understood, and used Shaw's work to comment on Iranian sociopolitical issues. Bozorg Alavi, a founding member of Iran's leading communist party, first introduced Iranian readers to Shaw through his translation of Mrs. Warren's Profession (1928). Since then, Shaw has appeared as a recurring point of reference for intellectuals with leftist sympathies in Iran in their pursuits of a range of reform agendas. This article focuses specifically on the mid-twentieth century, a politically turbulent time in which much of the resistance movements that led to the 1979 revolution emerged. It uses translations, criticisms, and productions of Shaw's work in addition to original analyses of Shaw's plays in dialogue with Iranian literature and politics to analyze Shaw's presence in debates surrounding issues of gender, national identity, and political freedom.","PeriodicalId":40781,"journal":{"name":"Shaw-The Journal of Bernard Shaw Studies","volume":"34 1","pages":"147 - 175"},"PeriodicalIF":0.0,"publicationDate":"2021-01-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80279905","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
abstract:The coronavirus pandemic has renewed the interest of historians and critics in the Black Death, The Decameron, and King Lear. Although Shaw neither wrote about pandemics nor used the word "epidemic" in his plays, he wrote of epidemics in his prefaces, essays, and letters to editors and individuals. Having contracted smallpox, it concerned him personally and as a vestryman of St. Pancras with the smallpox epidemic of 1901–2, which he tried to prevent. Rejecting vaccinations and revaccinations, he allied himself with Florence Nightingale's methods of cleanliness and sanitation, both of which medical experts now urge to help prevent the spread of coronavirus, whose transmission, incubation period, and prevention have similarities to those of smallpox.
{"title":"Bernard Shaw and the Smallpox Epidemic of 1901–2","authors":"B. Dukore","doi":"10.5325/shaw.40.2.0285","DOIUrl":"https://doi.org/10.5325/shaw.40.2.0285","url":null,"abstract":"abstract:The coronavirus pandemic has renewed the interest of historians and critics in the Black Death, The Decameron, and King Lear. Although Shaw neither wrote about pandemics nor used the word \"epidemic\" in his plays, he wrote of epidemics in his prefaces, essays, and letters to editors and individuals. Having contracted smallpox, it concerned him personally and as a vestryman of St. Pancras with the smallpox epidemic of 1901–2, which he tried to prevent. Rejecting vaccinations and revaccinations, he allied himself with Florence Nightingale's methods of cleanliness and sanitation, both of which medical experts now urge to help prevent the spread of coronavirus, whose transmission, incubation period, and prevention have similarities to those of smallpox.","PeriodicalId":40781,"journal":{"name":"Shaw-The Journal of Bernard Shaw Studies","volume":"19 1","pages":"285 - 297"},"PeriodicalIF":0.0,"publicationDate":"2021-01-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76872197","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
abstract:George Bernard Shaw has left a vast legacy of theatrical, fictional, polemical, critical, and philosophical writing. The first person to win both a Nobel Prize and an Academy Award, Shaw bridges the Victorian era and the contemporary culture of celebrity. The GBS brand came to be recognized globally as referring to an Irish provocateur with a red beard and startling opinions. He was a master of self-invention, a nobody who captured the zeitgeist and one of the first private individuals to understand fully how to generate—and how to use—global fame. The Royal Irish Academy and the National University of Ireland, Galway created a companion exhibition to the publication Judging Shaw by Fintan O'Toole (Royal Irish Academy, 2017). We reproduce the content of the exhibition for readers of SHAW, but the exhibition must be seen in person to appreciate the design and full impact. The touring exhibition is available for loan.
{"title":"Judging Shaw: An Exhibition","authors":"Ruth Hegarty, Fintan O'toole, B. Houlihan","doi":"10.5325/shaw.40.2.0305","DOIUrl":"https://doi.org/10.5325/shaw.40.2.0305","url":null,"abstract":"abstract:George Bernard Shaw has left a vast legacy of theatrical, fictional, polemical, critical, and philosophical writing. The first person to win both a Nobel Prize and an Academy Award, Shaw bridges the Victorian era and the contemporary culture of celebrity. The GBS brand came to be recognized globally as referring to an Irish provocateur with a red beard and startling opinions. He was a master of self-invention, a nobody who captured the zeitgeist and one of the first private individuals to understand fully how to generate—and how to use—global fame. The Royal Irish Academy and the National University of Ireland, Galway created a companion exhibition to the publication Judging Shaw by Fintan O'Toole (Royal Irish Academy, 2017). We reproduce the content of the exhibition for readers of SHAW, but the exhibition must be seen in person to appreciate the design and full impact. The touring exhibition is available for loan.","PeriodicalId":40781,"journal":{"name":"Shaw-The Journal of Bernard Shaw Studies","volume":"17 1","pages":"305 - 322"},"PeriodicalIF":0.0,"publicationDate":"2021-01-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81036655","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
abstract:This article examines Patrick Mason's 1998 production of Bernard Shaw's Saint Joan at the Abbey Theatre, Dublin, via its digital archives collection at the National University of Ireland, Galway. As a symbol appropriated for various causes, Joan's legacy remains pertinent for the analysis of performative responses to Shaw's portrayal of her life, execution, and "rehabilitation." Considering the playtext alongside paratextual materials, such as the preface, in light of the mise-en-scène raises the following questions: How can contemporary theater directors and dramaturges honor Shaw's proviso that his play be performed in accordance with his didactic vision while also welcoming their own particular contexts and artistic aims? Is it possible to adhere to all of Shaw's intentions regarding his play? In this way, Mason's production's intersections with and divergences from the source text can serve to elucidate Saint Joan's legacy of performance in Ireland and internationally.
{"title":"\"When I Am No Longer in Control of the Performing Rights\": Staging and Reception of Saint Joan at the Abbey Theatre during the Celtic Tiger Years","authors":"A. Ruane","doi":"10.5325/shaw.40.2.0188","DOIUrl":"https://doi.org/10.5325/shaw.40.2.0188","url":null,"abstract":"abstract:This article examines Patrick Mason's 1998 production of Bernard Shaw's Saint Joan at the Abbey Theatre, Dublin, via its digital archives collection at the National University of Ireland, Galway. As a symbol appropriated for various causes, Joan's legacy remains pertinent for the analysis of performative responses to Shaw's portrayal of her life, execution, and \"rehabilitation.\" Considering the playtext alongside paratextual materials, such as the preface, in light of the mise-en-scène raises the following questions: How can contemporary theater directors and dramaturges honor Shaw's proviso that his play be performed in accordance with his didactic vision while also welcoming their own particular contexts and artistic aims? Is it possible to adhere to all of Shaw's intentions regarding his play? In this way, Mason's production's intersections with and divergences from the source text can serve to elucidate Saint Joan's legacy of performance in Ireland and internationally.","PeriodicalId":40781,"journal":{"name":"Shaw-The Journal of Bernard Shaw Studies","volume":"212 1","pages":"188 - 213"},"PeriodicalIF":0.0,"publicationDate":"2021-01-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77007880","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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