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Costume design for You never can tellParker, Emily S. January 2010 (has links)
Thesis (M.F.A.)--University of Nebraska-Lincoln, 2010. / Title from title screen (site viewed May 13, 2010). PDF text: 56 p. : ill. (chiefly col.) Publication: Student Research and Creative Activity in Theatre and Film. Includes bibliographical references.
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Shaw's women charactersBesant, Lloyd, January 1964 (has links)
Thesis (Ph. D.)--University of Wisconsin, 1964. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Bibliography: leaves 297-307.
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Bernard Shaw and the theaters in the ninetiesFromm, Harold. January 1962 (has links)
Thesis (Ph. D.)--University of Wisconsin--Madison, 1962. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 202-205).
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Bertolt Brecht und Bernard Shaw: eine Untersuchung von Einflüssen und Parallelen.Schoeps, Karl-Heinz, January 1900 (has links)
Thesis (Ph. D.)--University of Wisconsin--Madison, 1972. / Vita. Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.
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Bernard Shaw's novels : his drama of ideas in embryo /Haddad, Rosalie Rahal. January 2004 (has links)
Zugl.: São Paulo, University, Diss., 2004.
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Bernard Shaw's reconfiguration of family in You never can tellByrne, Monique. January 2006 (has links)
Thesis (M.A.)--Villanova University, 2006. / English Dept. Includes bibliographical references.
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The relationship between theme and form in the plays of George Bernard ShawFrazer, Frances Marilyn January 1960 (has links)
The purpose of this study is to establish the thesis that Shaw, the noted iconoclast, was actually much influenced by nineteenth-century theatrical conventions, and that his use of hackneyed forms as bases for satire and subjects for revitalization was often not wholly successful, especially in his earlier plays, because formal conventions tended to confine and constrict the fresh themes he was attempting to develop in the old stage material.
The Introduction summarizes and argues against lingering critical attitudes toward Shaw which imply that he was not a playwright but an author of stage debates, and that he should therefore be held exempt from the type of criticism accorded dramatists' in the 'tradition'. Chapter One is a brief critical survey of plays current in London in the Nineties and the English and continental forebears of these plays, and includes some discussion of Shaw's campaign against the 'old' drama, his opinion of the pseudo-realist 'new' dramatists, and the differences between his aims and techniques and those of the post-Ibsen, post-Shavian playwrights. Chapter Two deals with Shaw's first play, Widowers' Houses, and two other sociological plays the relatively early Mrs. Warren's Profession and a play of Shaw's maturity, Major Barbara. These three plays demonstrate Shaw's progress from mere inversion of stock sentimental romance to more positive treatments of initially orthodox situations. Chapter Three is concerned with Shavian transformation of conventional melodrama and men of action and discusses the conflict between orthodox techniques and devices and Shavian ideas in the 'hero' plays. Chapter Four deals with two exceedingly popular plays -- Candida and Man and Superman -- in which Shaw developed his views on the Life Force and the relationships between the sexes. Like Chapter Two, this chapter seeks to prove that Shaw exhibited growing skill in adapting popular stage subjects to his own purposes while sustaining interest and comedy in the eternal conflict he perceived between vitality and system.
In Chapter Five, two semi-tragic plays, Heartbreak House and Saint Joan, are discussed as the final steps in Shaw's movement toward achieving harmony of story and theme. Heartbreak House, a disquisitory, symbolic drama, is an improvement upon earlier, less unified discussion plays, and Saint Joan combines the elements of philosophical discussion and powerful story in a play that undoubtedly benefits from the poignancy and melodrama of the legend on which it is based, but is also a triumphant blend of the traditional elements of drama and qualities uniquely Shavian. The chapter and the thesis close with a short comment on Shaw's contribution to modern drama. / Arts, Faculty of / English, Department of / Graduate
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Theme and structure in Bernard Shaw's political plays of the 1930'sWilliams, Jeffery Alvin January 1968 (has links)
The political extravaganzas dominate Shavian drama of the 1930's,
Shaw's last really productive decade. They form a fairly large and coherent
group, but their topicality and their abstract, seemingly non-dramatic
techniques have prevented most critics from examining the plays on their
own merits. This thesis attempts to show how Shaw, in his political plays,
not only chronicles his very close involvement with the urgent social problems
of the interwar years, but also how he develops special artistic devices
to embody his themes.
Shaw's political plays offer a continual flow of analysis and criticism
of an age which he thought was heading for disaster and war. In Too True to
be Good (1931); he analyzes modern man's sense of directionlessness and indicates
that he must re-evaluate his aims and goals, his morality and economics,
and discard worn out values which no longer describe either human
nature or contemporary problems. This play introduces a theme which prevails in all Shaw's political extravaganzas of the period: that men must
overcome their limited frames of reference and must cultivate an
open-mindedness
in their search for meaning and direction in a complex world. In On
the Rocks (1933), he investigates governmental problems In England and implies that in a world of selfish insularity, democratic government founders,
needing more than ever a strong leader to impose a direction on the country.
Recognizing the sinister implications of even an interim dictatorship, Shaw
is almost driven to despair. In The Simpleton of the Unexpected Isles (1934),
Shaw retreats from the ugly and almost insoluble problems of the immediate
world, to define and examine in abstract and symbolic terms the problems
dis-cussed in the earlier plays. Shaw reaffirms his faith in the Life Force,
again stresses that life-will continue to evolve, and asserts that if man
wants to be the vanguard of evolution he must be able to adapt to the unexpected
.
Having expressed his ultimate thoughts and allegiances in The Simpleton,
Shaw seemed to abandon his concern "with political problems in his plays,
until the urgency of world developments in the late thirties brought the
preacher in Shaw to the pulpit of the stage again in Geneva (1938). But in
this play Shaw's inability to maintain an aesthetic distance from world
events interfered with his artistry so that he produced a play lacking the
unity of theme and structure found in the earlier plays of the period.
But while the political plays of the thirties chronicle Shaw's very
close involvement with complex social problems, they also reveal Shaw's
attempt to develop special dramatic techniques to render an artistic expression
of his thoughts. The seemingly chaotic structures, weak characters, and garrulous speeches really are in many ways well suited to the
topical themes. Shaw utilizes a symposium type of discussion, which is appropriate
for the searching for direction, the open investigation of all
aspects of a complex problem. But perhaps the most characteristic and
least understood technique in these plays is Shaw's use of structure as a
major thematic device. Once understood, the seemingly random structures
are not evidence of "imitative fallacy", of using negative techniques to
express negative themes, hut of an artistic handling of technique to enhance
thematic comment on the chaos. In the best of Shaw's political
plays there is a well integrated mating of theme and structure which belies any idea that these plays are the products of a man in his dotage. / Arts, Faculty of / English, Department of / Graduate
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The Religion of Bernard ShawO’Sullivan, Timothy January 1949 (has links)
No description available.
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The Religion of Bernard ShawO'Sullivan, Timothy January 1949 (has links)
No description available.
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