One of Shaw's most unusual and enduringly popular plays. With SAINT JOAN (1923) Shaw reached the height of his fame and Joan is one of his finest creations; forceful, vital, and rebelling against the values that surround her. The play distils Shaw's views on the subjects of politics, religion and creative evolution.
Recenzijos
By the Winner of the Nobel Prize in Literature
[ Shaw] did his best in redressing the fateful unbalance between truth and reality, in lifting mankind to a higher rung of social maturity. He often pointed a scornful finger at human frailty, but his jests were never at the expense of humanity. Thomas Mann Shaw will not allow complacency; he hates second-hand opinions; he attacks fashion; he continually challenges and unsettles, questioning and provoking us even when he is making us laugh. And he is still at it. No cliché or truism of contemporary life is safe from him. Michael Holroyd In his works Shaw left us his mind. . . . Today we have no Shavian wizard to awaken us with clarity and paradox, and the loss to our national intelligence is immense. The Sunday Times He was a Tolstoy with jokes, a modern Dr. Johnson, a universal genius who on his own modest reckoning put even Shakespeare in the shade. The Independent His plays were superb exercises in high-level argument on every issue under the sun, from feminism and God, to war and eternity, but they were also hitsand still are. The Daily Mail
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One of Shaw's most unusual and enduringly popular plays. With Saint Joan (1923) Shaw reached the height of his fame and Joan is one of his finest creations; forceful, vital, and rebelling against the values that surround her.
`On Playing Joan vii Imogen Stubbs Introduction xi Preface Joan the Original and Presumptuous 7(1) Joan and Socrates 8(1) Contrast with Napoleon 8(1) Was Joan Innocent or Guilty? 9(2) Joans Good Looks 11(1) Joans Social Position 12(1) Joans Voices and Visions 13(1) The Evolutionary Appetite 14(2) The Mere Iconography does not Matter 16(1) The Modern Education which Joan Escaped 16(2) Failures of the voices 18(1) Joan a Galtonic Visualizer 18(1) Joans Manliness and Militarism 19(1) Was Joan Suicidal? 20(1) Joan Summed Up 21(1) Joans Immaturity and Ignorance 22(1) The Maid in Literature 22(3) Protestant Misunderstandings of the Middle Ages 25(1) Comparative Fairness of Joans Trial 26(1) Joan not tried as a Political Offender 27(2) The Church Uncompromised by its Amends 29(1) Cruelty, Modern and Medieval 30(1) Catholic Anti-Clericalism 31(1) Catholicism not yet Catholic Enough 32(1) The Law of Change is the Law of God 33(1) Credulity, Modern and Medieval 34(1) Toleration, Modern and Medieval 35(1) Variability of Toleration 36(1) The Conflict Between Genius and Discipline 37(1) Joan as Theocrat 38(1) Unbroken Success essential in Theocracy 39(1) Modern Distortions of Joans History 39(1) History always Out of Date 40(1) The Real Joan not Marvellous Enough for Us 40(1) The Stage Limits of Historical Representation 41(1) A Void in the Elizabethan Drama 42(1) Tragedy, not Melodrama 43(1) The Inevitable Flatteries of Tragedy 43(1) Some Well-meant Proposals for the Improvement of the Play 44(1) The Epilogue 45(1) To the Critics, lest they should feel Ignored 45(117) Saint Joan 49(113) Principal Works of Bernard Shaw 162
Dublin-born George Bernard Shaw (1856-1950) was an active Socialist and a brilliant platform speaker. He was strongly critical of London theatre and closely associated with the intellectual revival of British drama. Dan H. Laurence (series editor) has edited Shaw's Collected Letters and Collected Plays with their Prefaces. Imogen Stubbs is an actress and has played leading roles on stage, television and in film. Joley Wood has taught Anglo-Irish literature at Trinity College, Dublin.
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