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ELT 37:4 1994 the theatre (finally achieved in 1968); and (5) the systematic training of actors and well-organized rehearsals for the proper presentation of theatrical productions. Following the death of his son, Tom, in World War I, Archer (like the bereaved Arthur Conan Doyle and Oliver Lodge) sought solace in spiritualism. He died following surgery on 27 December 1924, and was deservedly eulogized as a great force and influence for good in the development of the modern British theatre. Whitebrook has very well succeeded in portraying the inner life as well as the works of a highly creative man. Despite some minor errors in spelling (Paderewski not Pederewski; Frederic not Frederick Harrison ) and a few omissions in the index, this study is a fine achievement. J. O. Baylen, Emeritus Eastbourne, England Shaw 13 John A. Bertolini, ed. Shaw and Other P^ywrights: The Annual of Bernard Shaw Studies, Vol. 13. University Park: Pennsylvania State University Press, 1993. 230 pp. $35.00 LIKE ITS PREDECESSORS, Shaw 13 offers a wide range of estimable work on GBS in relation to his playwriting predecessors, contemporaries, and successors. The indefatigable John Pfeiffer's two entries, the continuing checklist of Shaviana, and his bibliography of secondary sources on GBS and other playwrights, offer many avenues to note and pursue; and the book's four reviews ably advise us about works to taste, digest, and, in Sally Peters's review, question. Dan Laurence's "As He Liked It" provides useful keys to GBS's preferred pronunciation of the names of two dozen of his characters. Bertolini's edition of Shaw's interview-style obituary of J. M. Barrie as The Man with Hell in His Soul" gives us GBS's perspectives on Barrie's life and personality which complements a reprinting of Gwyn Thomas's wonderful 1975 BBC-2 teleplay of the relation between them in The Ghost of Adelphi Terrace. Interesting and important as those are, the volume's more weighty elements for me are the seven major biographical and critical essays and Christopher Newton's notes on directing Shaw and some contemporaries. My perspectives as an actor, director, and teacher in Theatre guide the focus of this review, especially since Bertolini remarks the need for Shaw scholarship to hear more from members of my craft (6). Evert Sprinchorn's essay on GBS and Strindberg begins by recount562 BOOK REVIEWS ing the only meeting (1908) between this odd couple of playwrights, which included Strindberg's hasty special performance of Miss Julie (in Swedish! and how did it end?) when each was beginning to reassess his playwriting concerns—Strindberg, without knowing it, approaching GBS's views of capitalism and socialism, and the latter coming closer to the other's darker view of human potential. His close examination of Shaw's thematics before, during, and after the Great War are especially revealing in this regard. Stanley Weintraub artfully explores the relationship between Wilde and Shaw in the 90s when Wilde referred to their early plays by Opus numbers in The Hibernian School," complimenting a theatrical nobody when at the height of his own fame. Leon Hugo takes us through the sixteen writers whose works formed the twenty-nine percent of performances staged at the Court Theatre in the 1904-1907 seasons (Shaw's make up seventy-one percent) and shows us GBS encouraging and learning from English novices whose works went up with those of established Continental writers. One of those British aspirants, Arnold Bennett, receives T. F. Evans's attention as he probes the relationship between GBS and the other novelist who tried his hand at the theatre, especially as they viewed each other's work. Bertolini's essay on Shaw as a presence in Terrence Rattigan's French Without Tears suggests some exciting choices for me to make in teaching this play. Fred Crawford's work on "Shaw's British Inheritors" includes the predictable heirs and also treats T. S. Eliot, who worked hard to cover up selected influences, and Tom Stoppard. I'd add Eliot's The Cocktail Party to Crawford's list: Shaw surely influenced my playing of Alex last season; and Alex, Reilly, and Julia form a supernatural trinity in...

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Additional Information

ISSN
1559-2715
Print ISSN
0013-8339
Pages
pp. 562-564
Launched on MUSE
2010-05-21
Open Access
No
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