abstract:This interview with award-winning director and former artistic director of the Abbey Theatre, Dublin, Patrick Mason, features a detailed discussion with Mason, regarding his experiences in directing works by Bernard Shaw in Ireland. Mason offers insights from when he first worked as a voice coach on the production of Saint Joan at the Abbey in 1972, directed by Lelia Doolan, and on his later career as a director. Mason discusses directing Shaw at the Gate Theatre along with a series of other Anglo-Irish plays during the 1980s; directing Shaw at the Abbey Theatre including his 1998 production of Saint Joan that starred Jane Brennan; how Shaw is situated today within the canon of Irish and national drama; how Shaw and his plays meet contemporary audiences; and the wider legacy(ies) of Shaw to the theater today.
{"title":"Shavian Arias and Virtuosity: Patrick Mason on Directing Shaw","authors":"B. Houlihan","doi":"10.5325/shaw.40.2.0247","DOIUrl":"https://doi.org/10.5325/shaw.40.2.0247","url":null,"abstract":"abstract:This interview with award-winning director and former artistic director of the Abbey Theatre, Dublin, Patrick Mason, features a detailed discussion with Mason, regarding his experiences in directing works by Bernard Shaw in Ireland. Mason offers insights from when he first worked as a voice coach on the production of Saint Joan at the Abbey in 1972, directed by Lelia Doolan, and on his later career as a director. Mason discusses directing Shaw at the Gate Theatre along with a series of other Anglo-Irish plays during the 1980s; directing Shaw at the Abbey Theatre including his 1998 production of Saint Joan that starred Jane Brennan; how Shaw is situated today within the canon of Irish and national drama; how Shaw and his plays meet contemporary audiences; and the wider legacy(ies) of Shaw to the theater today.","PeriodicalId":40781,"journal":{"name":"Shaw-The Journal of Bernard Shaw Studies","volume":"354 1","pages":"247 - 256"},"PeriodicalIF":0.0,"publicationDate":"2021-01-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77379389","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}
JOHN M. MCINERNEY is a professor emeritus from the University of Scranton, in Scranton, Pennsylvania, where he taught English Literature with a concentration on modern drama. A veteran member of, and former officer in the International Shaw Society, he has contributed chapters to Shaw and Feminisms, edited by D. A. Hadfield and Jean Reynolds, and George Bernard Shaw in Context, edited by Brad Kent. He has also worked for many years in university and community theater as an actor, director, and playwright.
约翰·m·麦金纳尼(JOHN M. MCINERNEY)是宾夕法尼亚州斯克兰顿大学(University of Scranton)的名誉教授，他在那里教授英国文学，重点是现代戏剧。他是国际邵氏协会的资深成员和前官员，为D. A.哈德菲尔德和珍·雷诺兹主编的《萧伯纳与女权主义》和布拉德·肯特主编的《语境中的萧伯纳》撰写了章节。他还在大学和社区剧院担任演员、导演和剧作家多年。
{"title":"Joan and Her Sisters","authors":"Brigitte Bogar","doi":"10.5325/shaw.40.2.0334","DOIUrl":"https://doi.org/10.5325/shaw.40.2.0334","url":null,"abstract":"JOHN M. MCINERNEY is a professor emeritus from the University of Scranton, in Scranton, Pennsylvania, where he taught English Literature with a concentration on modern drama. A veteran member of, and former officer in the International Shaw Society, he has contributed chapters to Shaw and Feminisms, edited by D. A. Hadfield and Jean Reynolds, and George Bernard Shaw in Context, edited by Brad Kent. He has also worked for many years in university and community theater as an actor, director, and playwright.","PeriodicalId":40781,"journal":{"name":"Shaw-The Journal of Bernard Shaw Studies","volume":"423 1","pages":"334 - 339"},"PeriodicalIF":0.0,"publicationDate":"2021-01-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77000691","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:Aisling Smith completed her practice as research PhD program at NUI Galway from 2015 to 2018, focusing on the dramatic work of George Bernard Shaw. Specifically, she staged and directed three of his plays: a site-specific production of O'Flaherty V.C., an epic theater production of Pygmalion, and an intermedial production of The Millionairess. In this interview about her work, Smith discusses how relevant Shaw is to today's intellectual and performance scene and details the insights she gleaned into Shaw's dramatic work, including how, when creating her epic production of Pygmalion, she discovered new and revealing Brechtian elements in Shaw's play text and performance style.
{"title":"Researching Shaw in Performance: An Interview with Aisling Smith","authors":"P. O’Beirne","doi":"10.5325/shaw.40.2.0273","DOIUrl":"https://doi.org/10.5325/shaw.40.2.0273","url":null,"abstract":"abstract:Aisling Smith completed her practice as research PhD program at NUI Galway from 2015 to 2018, focusing on the dramatic work of George Bernard Shaw. Specifically, she staged and directed three of his plays: a site-specific production of O'Flaherty V.C., an epic theater production of Pygmalion, and an intermedial production of The Millionairess. In this interview about her work, Smith discusses how relevant Shaw is to today's intellectual and performance scene and details the insights she gleaned into Shaw's dramatic work, including how, when creating her epic production of Pygmalion, she discovered new and revealing Brechtian elements in Shaw's play text and performance style.","PeriodicalId":40781,"journal":{"name":"Shaw-The Journal of Bernard Shaw Studies","volume":"16 13 1","pages":"273 - 284"},"PeriodicalIF":0.0,"publicationDate":"2021-01-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83744926","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}
{"title":"News of Interest, Encouraging Words, and Frank Admonitions for a Friend","authors":"J. Mcinerney","doi":"10.5325/shaw.40.2.0332","DOIUrl":"https://doi.org/10.5325/shaw.40.2.0332","url":null,"abstract":"","PeriodicalId":40781,"journal":{"name":"Shaw-The Journal of Bernard Shaw Studies","volume":"6 1","pages":"332 - 334"},"PeriodicalIF":0.0,"publicationDate":"2021-01-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79406544","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}
{"title":"On the Municipal Gallery: Interview with Mr. Bernard Shaw The Danger of Fire The Poor and Pictures Municipal Art Gallery The Bridge Site","authors":"Shaw","doi":"10.5325/shaw.41.2.0459","DOIUrl":"https://doi.org/10.5325/shaw.41.2.0459","url":null,"abstract":"","PeriodicalId":40781,"journal":{"name":"Shaw-The Journal of Bernard Shaw Studies","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70890197","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}
{"title":"Introduction: Bernard Shaw and New Media","authors":"J. Buckley","doi":"10.5325/shaw.40.1.0001","DOIUrl":"https://doi.org/10.5325/shaw.40.1.0001","url":null,"abstract":"","PeriodicalId":40781,"journal":{"name":"Shaw-The Journal of Bernard Shaw Studies","volume":"11 1","pages":"1 - 9"},"PeriodicalIF":0.0,"publicationDate":"2020-05-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89816481","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 analyzes how biases in Shaw's media environment are reflected in his experiences and representations of the First World War. After turning to contemporary media theory to assess the ways in which war mediates the legibility of one's surroundings, this article discusses Shaw's critique of war delirium in "Common Sense about the War." After examining excerpts from "Joy Riding at the Front" and the preface of Heartbreak House—which diverge in interesting ways from "Common Sense"—this article concludes by offering some speculative insights into what Shaw's war ambivalence contributes to new media theory.
{"title":"Common Senselessness about the War: On Shaw's Media Delirium","authors":"Joshua Reeves","doi":"10.5325/shaw.40.1.0036","DOIUrl":"https://doi.org/10.5325/shaw.40.1.0036","url":null,"abstract":"abstract:This article analyzes how biases in Shaw's media environment are reflected in his experiences and representations of the First World War. After turning to contemporary media theory to assess the ways in which war mediates the legibility of one's surroundings, this article discusses Shaw's critique of war delirium in \"Common Sense about the War.\" After examining excerpts from \"Joy Riding at the Front\" and the preface of Heartbreak House—which diverge in interesting ways from \"Common Sense\"—this article concludes by offering some speculative insights into what Shaw's war ambivalence contributes to new media theory.","PeriodicalId":40781,"journal":{"name":"Shaw-The Journal of Bernard Shaw Studies","volume":"48 1","pages":"36 - 49"},"PeriodicalIF":0.0,"publicationDate":"2020-05-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78572783","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:As a journalist and photographer Shaw saw the opportunities for self-promotion offered by the burgeoning new photographic and print media in the late Victorian and Edwardian periods. Owing to his connections with the influential editor Clement Shorter, Shaw had been taking advantage of technological improvements to the halftone process, which had made the mass printing of photographic images possible. Shaw was quick to acknowledge the possibilities of "celebrity" photojournalism; however as an accomplished photographer and critic, he focused on quality artistic portraits of himself that drew attention to his cultural interests, photographic expertise, and friendships. Self-portraits, and photographic portraits by the art photographers Frederick H. Evans and Alvin Langdon Coburn, were selected for publication to promote his life and work. Shaw's ability to harness art photography for the purposes of self-promotion through the popular newspaper-magazines of the day has not previously been recognized.
作为一名记者和摄影师，肖看到了维多利亚晚期和爱德华七世时期新兴的摄影和印刷媒体为自我推销提供的机会。由于他与有影响力的编辑克莱门特·肖特(Clement Shorter)的关系，肖一直在利用半色调印刷技术的改进，这种技术使大量印刷摄影图像成为可能。肖很快意识到“名人”新闻摄影的可能性;然而，作为一名有成就的摄影师和评论家，他专注于自己的高质量艺术肖像，吸引了人们对他的文化兴趣，摄影专业知识和友谊的关注。艺术摄影师Frederick H. Evans和Alvin Langdon Coburn的自画像和摄影肖像被选中出版，以宣传他的生活和工作。肖利用艺术摄影通过当时流行的报纸杂志进行自我宣传的能力以前没有得到认可。
{"title":"Shaw's Photojournalism: The Art of Self-Promotion","authors":"Alice Mcewan","doi":"10.5325/shaw.40.1.0010","DOIUrl":"https://doi.org/10.5325/shaw.40.1.0010","url":null,"abstract":"abstract:As a journalist and photographer Shaw saw the opportunities for self-promotion offered by the burgeoning new photographic and print media in the late Victorian and Edwardian periods. Owing to his connections with the influential editor Clement Shorter, Shaw had been taking advantage of technological improvements to the halftone process, which had made the mass printing of photographic images possible. Shaw was quick to acknowledge the possibilities of \"celebrity\" photojournalism; however as an accomplished photographer and critic, he focused on quality artistic portraits of himself that drew attention to his cultural interests, photographic expertise, and friendships. Self-portraits, and photographic portraits by the art photographers Frederick H. Evans and Alvin Langdon Coburn, were selected for publication to promote his life and work. Shaw's ability to harness art photography for the purposes of self-promotion through the popular newspaper-magazines of the day has not previously been recognized.","PeriodicalId":40781,"journal":{"name":"Shaw-The Journal of Bernard Shaw Studies","volume":"19 1","pages":"10 - 35"},"PeriodicalIF":0.0,"publicationDate":"2020-05-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81233628","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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