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Augustin Hamon for the Defense

Augustin Hamon for the Defense shows his ability to size up an actor or actress as he watches a play, which Hadfield takes full advantage of in moving to Shaw's advice on how to see and produce his own plays. Her selections in Part I invite readers to imagine him at work coaching actors. As Hadfield goes on to showcase Shaw in his roles as producer/director, as well as his fierce commitments to social reform and repeal of censorship, she maintains a tight focus on Shaw as theater practitioner, from his days as a reviewer to the way he handled permissions for others to launch productions of his plays. By the end of the volume, we've encountered Shaw as literary artist and disseminator of theater practices, and we understand the social beliefs and positions that were never far from the surface of his dramaturgy. All in all, this series may well push Shaw studies into a new and needed direction, and yet one reminiscent of Shaw's own methods just spoken of: a new audience, on the page, and perhaps in the venues that still produce Shaw's plays. eLLeN DOLGiN is vice president of the International Shaw Society and professor and chair of English http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png SHAW: The Journal of Bernard Shaw Studies Penn State University Press

Augustin Hamon for the Defense

SHAW: The Journal of Bernard Shaw Studies , Volume 36 (2) – Nov 15, 2016

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Publisher
Penn State University Press
Copyright
Copyright © The Pennsylvania State University.
ISSN
1529-1480
Publisher site
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Abstract

shows his ability to size up an actor or actress as he watches a play, which Hadfield takes full advantage of in moving to Shaw's advice on how to see and produce his own plays. Her selections in Part I invite readers to imagine him at work coaching actors. As Hadfield goes on to showcase Shaw in his roles as producer/director, as well as his fierce commitments to social reform and repeal of censorship, she maintains a tight focus on Shaw as theater practitioner, from his days as a reviewer to the way he handled permissions for others to launch productions of his plays. By the end of the volume, we've encountered Shaw as literary artist and disseminator of theater practices, and we understand the social beliefs and positions that were never far from the surface of his dramaturgy. All in all, this series may well push Shaw studies into a new and needed direction, and yet one reminiscent of Shaw's own methods just spoken of: a new audience, on the page, and perhaps in the venues that still produce Shaw's plays. eLLeN DOLGiN is vice president of the International Shaw Society and professor and chair of English

Journal

SHAW: The Journal of Bernard Shaw StudiesPenn State University Press

Published: Nov 15, 2016

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