British Drama Since ShawThis penetrating survey covers the most creative of the Anglo-Irish modern playwrights, beginning with George Bernard Shaw and including the avant-garde dramatists of the 1960s. Emil Roy, an expert in British drama, is the author of Christopher Fry, previously published in this series.
Roy devotes individual chapters to Shaw, W. B. Yeats, J. M. Synge, and Sean O’Casey. He discusses T. S. Eliot and Christopher Fry together, since Fry is Eliot’s disciple in poetic drama. And in his concluding chapter, entitled “The Moderns,” he provides an examination of John Osborne, John Arden, Harold Pinter, Arnold Wesker, and John Whiting.
Up-to-date and concise, the book thus affords a view of the best of modern British drama. |
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acceptance action Algernon Alison ambivalence appears Arden Armstrong's Armstrong's Last Goodnight Arnold Wesker artist attempts audience beneath British drama career characters Christy Christy's comedy comic conflict creative Cuchulain Cusins Dandy death Decima Deirdre desire Despite dramatist drives Eliot Emil Roy escape fantasies farce farcical father Gwendolen Harold Pinter Heartbreak House heroines human husband idealized identity illusion inner Irish Ironically isolated J. M. Synge Jack John John Arden Juno Lady Lindsay Major Barbara man's marriage mask metaphors moral mother murder O'Casey's Osborne Osborne's paradox parody passion Pegeen Pinter's play play's Playboy playwrights plots poetic protagonist reality rebel rebellious rejects reveal role romantic Saint Joan scene Sean O'Casey seems sense sexual Shaw Shaw's social society speech spiritual symbolized Synge Synge's T. S. Eliot theatre tion turn Undershaft victims vision vital W. B. Yeats Wesker Wilde Wilde's woman women Yeats Yeats's young