John Osborne: Vituperative ArtistRoutledge, 04.02.2014 - 300 Seiten For British playwright, John Osborne, there are no brave causes; only people who muddle through life, who hurt, and are often hurt in return. This study deals with Osborne's complete oeuvre and critically examines its form and technique; the function of the gaze; its construction of gender; and the relationship between Osborne's life and work. Gilleman has also traced the evolution of Osborne's reception by turning to critical reviews at the beginning of each chapter. |
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Seite 13
... tion of the British theatre , Osborne is neither a homosexual nor a particular defender of their rights . " 47 The first part of that statement must have met with some skepticism . Before his success with Look Back in Anger , the ...
... tion of the British theatre , Osborne is neither a homosexual nor a particular defender of their rights . " 47 The first part of that statement must have met with some skepticism . Before his success with Look Back in Anger , the ...
Seite 25
... tion is almost a guarantee of quality . If that were the case , one would have to conclude that Osborne's mastery received much public recognition . He admits himself that record numbers of people have walked out of his plays , banging ...
... tion is almost a guarantee of quality . If that were the case , one would have to conclude that Osborne's mastery received much public recognition . He admits himself that record numbers of people have walked out of his plays , banging ...
Seite 38
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Inhalt
1 | |
Rise to the Top 19561963 | 35 |
Of Bears and Traps | 45 |
5 | 85 |
6 | 109 |
7 | 119 |
Society and the Hidden Self | 141 |
9 | 163 |
The Limits of Authenticity | 177 |
12 | 200 |
A Note on Further Reading | 234 |
Index | 254 |
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John Osborne, Vituperative Artist: A Reading of His Life and Work Luc Maurice Gilleman Eingeschränkte Leseprobe - 2002 |
Häufige Begriffe und Wortgruppen
actors Alison appears Archie artist audience Back in Anger become believe better body called character clearly course Court create critics Daily Damn death Déjàvu desire difference directed drama effect emotional England English Evidence expected expressed eyes fact father fear feel finally force George give homosexuality human idea important instance Jimmy John Osborne June kind language later less live London Look Back lost Luther Maitland March Martin meaning mind misogyny mother never October once Osborne's past Patriot play playwright political present production reality Redl refers remain reviewers role Royal says scene seems sense sexual speak stage stands story success suffering Sunday tells Theatre thing thought tion true turn voice Watch woman women writing York young