George Bernard Shaw - Bernard Shaw on Theater
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A collection of critical writings on theater from the Nobel Prizewinning playwright behind Man and Superman and Pygmalion.
The Critical Shaw: On Theater is a comprehensive selection of essays and addresses about drama and theater by renowned Irish playwright and Nobel Laureate Bernard Shaw. An outspoken critic of the melodramas and formulaic farces that comprised most of the popular theater in the late nineteenth century, Shaw relentlessly campaigned for audiences, actors, theater managers, and even government officials to take theater more seriously, to use the stage as a forum for representing complex real issues such as poverty, marriage and divorce laws, sexual attraction, gender equality, and political power, so that through seeing them acted out, audiences could better understand and address them when they left the theater. Shaws commitment to social reform through theater was matched by his expertise in the artistic and practical aspects of drama: whether he was reviewing productions, lecturing about acting, or schooling agents on royalties and copyright law, Shaw set a standard for intelligent professionalism that our own theaters might still aspire to and be measured against.
The Critical Shaw series brings together, in five volumes and from a wide range of sources, selections from Bernard Shaws voluminous writings on topics that exercised him for the whole of his professional career: Literature, Music, Politics, Religion, and Theater. The volumes are edited by leading Shaw scholars, and all include an introduction, a chronology of Shaws life and works, annotated texts, and a bibliography. The series editor is L.W. Conolly, literary adviser to the Shaw Estate and former president of the International Shaw Society.George Bernard Shaw: author's other books
Who wrote Bernard Shaw on Theater? Find out the surname, the name of the author of the book and a list of all author's works by series.
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The Critical Shaw
on Theater
edited by D.A. Hadfield
The Critical Shaw: On Theater
General Editors Preface and Chronology 2016 by L.W. Conolly
Introduction and editorial material 2016 by D.A. Hadfield
A New Lady Macbeth and a New Mrs Ebbsmith 1895 by the Estate of Bernard Shaw
The Case for the Critic-Dramatist 1895 by the Estate of Bernard Shaw
The Farcical Comedy Outbreak 1896 by the Estate of Bernard Shaw
Blaming the Bard 1896 by the Estate of Bernard Shaw
The Theatres 1897 by the Estate of Bernard Shaw
Valedictory, 1898 by the Estate of Bernard Shaw
The Authors Apology 1906, 1931 by the Estate of Bernard Shaw
There is no way of becoming a dramatic critic, a letter to Reginald Golding Bright 1894 by the Estate of Bernard Shaw
Excerpt from A Dramatic Realist to His Critics, 1894 by the Estate of Bernard Shaw
Excerpt from the Preface to Major Barbara, 1906 by the Estate of Bernard Shaw
The Court Theatre 1907 by the Estate of Bernard Shaw
Statement to New York Theatre Audiences 1924 by the Estate of Bernard Shaw
Prefatory Note to The Six of Calais 1935 by the Estate of Bernard Shaw
Acting, by one who does not believe in it, 1889 by the Estate of Bernard Shaw
Church and Stage 1898 by the Estate of Bernard Shaw
Excerpt from the Preface to Plays Pleasant, 1898 by the Estate of Bernard Shaw
Excerpt from the Preface to Three Plays by Brieux, 1913 by the Estate of Bernard Shaw
Excerpt from The Quintessence of Ibsenism, 1922 by the Estate of Bernard Shaw
Excerpt from The Need for Expert Opinion in Sexual Reform, 1929 by the Estate of Bernard Shaw
The Play of Ideas, 1950 by the Estate of Bernard Shaw
The Censorship of the Stage in England, 1899 by the Estate of Bernard Shaw
Excerpt from the Preface to The Shewing-up of Blanco Posnet, 1909 by the Estate of Bernard Shaw
Excerpt from Censorship as a Police Duty, 1928 by the Estate of Bernard Shaw
Excerpt from the Preface to The Theatrical World of 1894 1895 by the Estate of Bernard Shaw
On Nothing in Particular and the Theatre in General, 1896 by the Estate of Bernard Shaw
Theres no ring, a letter to Reginald Golding Bright, 1896 by the Estate of Bernard Shaw
Mr Bancrofts Pilgrimage, 1896 by the Estate of Bernard Shaw
Letters about Production Rights and Royalties, 19071925 by the Estate of Bernard Shaw
Bernard Shaw Talks about Actors and Acting, 1929 by the Estate of Bernard Shaw
Why Too True to be Good Failed: A Moral in Favour of a National Theatre, 1932 by the Estate of Bernard Shaw
Playwrights and Amateurs, 1933 by the Estate of Bernard Shaw
Rules for Directors, 1949 by the Estate of Bernard Shaw
Letter to Barry Jackson, 17 August 1950 by the Estate of Bernard Shaw
All rights reserved. No part of this book may be used or reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without permission in writing from the publisher, except by a reviewer who may quote brief passages in a review.
Electronic edition published 2016 by RosettaBooks
Cover design by David Ter-Avanesyan / Ter33Design
Cover illustration by Shutterstock / LHF Graphics
ISBN (EPUB): 9780795346880
ISBN (Kindle): 9780795347702
www.RosettaBooks.com
I owe a double gratitude to Leonard Conolly, general editor of this Critical Shaw series, first for offering me the opportunity to immerse myself in the vast range of Shaws writing about theatre, and then also for his wisdom and guidance through the difficult process of paring the voluminous riches down to a manageable sampling. His patience and encouragement are much appreciated.
I am also grateful to my fellow editors in this seriesMichel Pharand, Gustavo Rodriguez Martin, Christopher Innes, and Brigitte Bogarfor their enthusiasm and collaborative professionalism in negotiating a coordinated framework for the volumes, and to Jay McNair and the editorial team at Rosetta for bringing the series together.
And finally, I want to thank the members of the International Shaw Society, who provide such enriching opportunities for keeping the critical conversation about Shaw alive.
Bernard Shaw is not the household name he once was, but in the 1920s and 1930s he was certainly the worlds most famous English-language playwright, and arguably one of the most famous people in the world. His plays were internationally performed and acclaimed, his views on matters great and small were relentlessly solicited by the media, he was pursued by paparazzi long before the word was even invented, the biggest names in politics, the arts, entertainment, even sportsGandhi, Nehru, Churchill, Rodin, Twain, Wells, Lawrence of Arabia, Elgar, Einstein, Garbo, Chaplin, Stalin, Tunney and many morewelcomed his company, and his correspondents in the tens of thousands of letters he wrote during his long lifetime constitute a veritable whos who of world culture and politics. And Shaw remains the only person ever to have been awarded both a Nobel Prize and an Oscar.
Shaws reputation rests securely not just on his plays, a dozen or so of which have come to be recognized as classicsMan and Superman, Major Barbara, Pygmalion, and Saint Joan perhaps now the most familiar of thembut also on his early work as a music, art, literary, and theater critic, and on his lifelong political activism. After he moved to London from his native Dublin in 1876, and after completing five novels, he established himself as one of Londons most controversial, feared, and admired critics, and while he eventually retired from earning his living as a critic in order to focus on playwriting, he continued to lecture and write about cultural and other issuesreligion, for examplewith scorching intelligence. As for politics, his early commitment to Socialism, and his later expressed admiration for Communism and contempt for Capitalism, meant that while his views were relentlessly refuted by the establishment press they could rarely be ignoredhardly surprising given the logic and passion that underpinned them.
Winston Churchill once declared Shaw to be the greatest living master of letters in the English-speaking world, and the selections from Shaws reviews, essays, speeches, and correspondence contained in the five volumes of this Critcal Shaw series provide abundant evidence to validate Churchills high regard. Shaw wroteand spokevoluminously, and his complete works on the topics covered by this seriesLiterature, Music, Religion, Theater, and Politicswould fill many more than five volumes. The topics reflect Shaws deepest interests and they inspired some of his most brilliant nondramatic writing. The selections in each volume give a comprehensive and representative survey of his thinking, and show him to be not just the great rhetorician that Churchill and others acknowledged, but also one of the great public intellectuals of the twentieth century.
Leonard Conolly
Robinson College, Cambridge
December 2015
On 2 November 1950, the lights on Broadway and in Times Square went dark for a moment to acknowledge the passing of George Bernard Shaw, one of the most important dramatic figures of the twentieth century. Several weeks earlier, the 94-year-old Shaw had fallen while pruning branches in his garden, and the world had kept vigil, via regular posts from the aggressive mob of journalists who maintained a round-the-clock presence, while Shaws extraordinary store of abundant vitality finally, inexorably, faded.
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