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room, writing novels and reading what he had missed at school, and his evenings in search of additional self education in the lectures and debates that charac[r]
(1)DRAMA II
MODERN DRAMA
Lecture 21
(2)SYNOPSIS
1 A Conclusive Talk
2 George Bernard Shaw
3 The Myth Behind the Play Contextual Background
5 George Bernard Shaw’s Philosophy Plot Overview
7 Characters, Role, Relationship, Conflicts & Significance
8 Themes and the major Conflicts
(3)PYGMALION
George Bernard Shaw
(4)A Conclus ive Talk Waiting for Godot
Lecture 14
Waiting for Godot By Samuel Beckett Samuel Beckett’s Biography
An Overview of Waiting for Godot Characters in the Play
Setting of the Play
Beckett’s Theatrical Concept and Style
(5)A Conclus ive Talk Waiting for Godot
Lecture 15
SUMMARY: Waiting for Godot Summary and Analysis
Act I: Introduction & Pozzo and Lucky's Entrance Act II: Introduction & Pozzo and Lucky's Entrance
3 Discussion Questions / Aspects to be analyzed
(6)A Conclus ive Talk Waiting for Godot
Lecture 16
SUMMARY: Waiting for Godot (Conti…) Summary and Analysis
Act I: Introduction & Pozzo and Lucky's Entrance Act II: Introduction & Pozzo and Lucky's Entrance
3 Discussion Questions / Aspects to be analyzed
(7)A Conclus ive Talk Waiting for Godot
Lecture 17
Absurdist Drama
Dialogue and Language/Humor of Absurdist Drama
Plot & Structure of Absurdist Drama THEMES in Waiting for Godot
Aspects to Consider
(8)A Conclus ive Talk Waiting for Godot
Lecture 18
1 Waiting for Godot Symbolism, Imagery & Allegory Setting
3 Waiting for Godot Genre, TONE, STYLE & Title
4 Waiting for Godot as Booker’s Seven Basic Plots Analysis: Tragedy Plot Social Acceptance of Waiting for Godot
Critical Analysis
(9)A Conclus ive Talk Waiting for Godot
Lecture 19
An Introduction to
1 Philosophical Background of Waiting for Godot Theatre of Absurd
Existentialism
The Paradox of Consciousness
2 Becket: Critical Analysis (Analytical Mapping)
Characters
(10)A Conclus ive Talk Waiting for Godot
Lecture 20
Analytical Mapping: Social Significance Philosophical Background: Themes A Social
B Psychological C Religious
3 Dramatic references: Themes
(11)George Bernard Shaw
George Bernard Shaw
(1856-1950) was the third and youngest
child (and only son) of George Carr Shaw and Lucinda Elizabeth Gurly Shaw.
Technically, he belonged to the
Protestant “ascendancy”—the
landed Irish gentry—but his impractical father was first a
sinecured civil servant and then an unsuccessful grain merchant
(12)George Bernard Shaw
George Bernard grew up in an atmosphere of
genteel poverty, which to him was more humiliating than being merely poor
(13) Another historical point that may have some
importance is that in 1872 his mother left her
husband and took her two daughters to
London, following her music teacher, George John Vandeleur Lee, who from 1866 had shared households in Dublin with the Shaws.
Whatever we may feel about this, it shows him
close to an exceptionally independent woman
(14) In 1876 Shaw resolved to become a writer, and
he joined his mother and elder sister (the
younger one having died) in London. Shaw in his 20s suffered continuous frustration and
poverty.
He depended upon his mother's pound a week
from her husband and her earnings as a music teacher.
(15)George Bernard Shaw
He spent his afternoons in the British Museum reading
room, writing novels and reading what he had missed at school, and his evenings in search of additional self education in the lectures and debates that characterized contemporary middleclass London intellectual activities
His fiction failed utterly. The semiautobiographical and aptly titled Immaturity (1879; published 1930) repelled
(16) His next four novels were similarly refused, as were
most of the articles he submitted to the press for a decade.
Shaw's initial literary work earned him less than 10
shillings a year. A fragment posthumously published as An Unfinished Novel in 1958 (but written 1887– 88) was his final false start in fiction.
Despite his failure as a novelist in the 1880s, Shaw
found himself during this decade. He became a vegetarian, a socialist, a spellbinding orator, a polemicist, and tentatively a playwright
George Bernard Shaw
(17) Before long, Shaw had become one of the
most soughtafter public speakers in
England. He argued in his pamphlets in favor of equality of income and advocated the equitable division of land and capital. He believed that property was "theft" and felt, like Karl Marx, that capitalism was deeply flawed and was unlikely to last.
Unlike Marx, however, Shaw favored
gradual reform over revolution. And there
we see Alfred Doolittle, common dustman.
George Bernard Shaw
(18) In one pamphlet written in 1897, he predicted that socialism
"will come by prosaic installments of public regulation and public administration enacted by ordinary parliaments,
vestries, municipalities, parish councils, school boards, etc."
George Bernard Shaw
(19) In 1892, Shaw wrote his first play, Widowers'
Houses, about the evils of slumlords. The play was attacked savagely by people who opposed his
politics.
It was then that Shaw knew he was a good
playwrighthe must have been to have upset so
many people with his social commentary.
He went on to revolutionize the English theater by
concentrating his writing on various social issues at a time when most other playwrights were writing "sentimental pap."
George Bernard Shaw
(20)PYGMALION
The Myth Behind the Play