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John Osborne

    12. december 1929 – 24. december 1994

    John Osborne bol anglický dramatik, ktorého hry zásadne zmenili anglické divadlo. Vo svojej tvorbe sa venoval mnohým témam a žánrom, písal pre divadlo, film i televíziu. Preslávil sa násilným jazykom, ktorým komentoval politické kauzy, ale aj svoje rodinné vzťahy. Osborne ako jeden z prvých autorov otvorene spochybňoval postavenie monarchie a zaoberal sa úlohou Británie v postimperiálnej ére, čím obohatil britskú drámu o témy povojnovej reality.

    John Osborne
    My Car Plays Tapes
    West of Suez
    Rome in the Ninth Century
    Luther
    The Entertainer
    Moderná svetová dráma
    • Tennessee Williams: Električka zvaná Túžba Jean Anouilh: Božia česť Friedrich Dürrenmatt: Fyzici John Osborne: Obzri sa v hneve Július Pašteka: Nové obzory súčasného divadla

      Moderná svetová dráma
    • This play about the life and work of a second-rate music hall comic (brilliantly created by Sir Laurence Olivier in the original production) has become a classic of 20th century drama.

      The Entertainer
      3,2
    • Luther

      A Play

      Luther is a play by John James Osborne that explored the forces that were involved in the life of the famous reformer. Osborne was influenced by Erik Erikson's book, Young Man Luther, which had been published 3 years prior in 1958. In the play, Luther's reputed constipation played a part in the course of Luther's life & career. Osborne takes Luther to task for his Against the Murderous, Thieving Hordes of Peasants (1525) & its call for vigorous suppression of the peasants in the Peasants' Revolt (1524-26). Osborne has Luther giving a philosophically & theologically good answer to the challenge, consistent with Luther's own thinking. This would seem to exculpate Osborne of any accusation of being totally one-sided against Luther. Luther seems to have been a disappointment to Osborne, since he could have followed thru in his life as a revolutionary. He does have Johann von Staupitz, although at a time when the historical person would have been dead at least a year, telling Luther: "We owe so much to you." The play was made into a film, starring Stacy Keach, Judi Dench, Maurice Denham, Hugh Griffith, Patrick Magee, & Robert Stephens in 1974.

      Luther
      5,0
    • Rome in the Ninth Century

      A History in Art

      • 348 stránok
      • 13 hodin čítania

      Spanning from Charlemagne's coronation in 800 to the decline of the Roman Church a century later, this work examines Rome's material culture through architecture, artifacts, and historical texts. It highlights the city's initial wealth and artistic patronage, followed by a period of impoverishment and decline. John Osborne challenges the belief that the Franco-papal alliance caused a cultural rift between Rome and the eastern Mediterranean. Richly illustrated, this book is vital for those interested in the complexities of medieval Rome.

      Rome in the Ninth Century
      5,0
    • West of Suez

      • 86 stránok
      • 4 hodiny čítania

      Set on a Caribbean Island, colonial and emotional empires in deca. The main character of this play, the elderly novelist Wyatt Gillman, resembles a fading Evelyn Waugh who has become a spent force and a prophet opposed to change.

      West of Suez
      3,0
    • Focusing on John Osborne's experiences as a support worker, this narrative intertwines his life with a nostalgic journey through the music and memories evoked by old tapes from the 1990s. The storytelling captivates readers by exploring themes of memory, connection, and the impact of music on personal identity.

      My Car Plays Tapes
      3,5
    • Look Back in Anger

      A play in three acts

      • 105 stránok
      • 4 hodiny čítania

      s/t: A Play in Three Acts Jimmy Porter plays trumpet badly. He browbeats his flatmate, terrorizes his wife, and is not above sleeping with her best friend-who loathes Jimmy almost as much as he loathes himself. Yet this working-class Hamlet, the original Angry Young Man, is one of the most mesmerizing characters ever to burst onto a stage, a malevolently vital, volcanically articulate internal exile in the dreary, dreaming Siberia of postwar England. First produced in 1956, Look Back in Anger launched a revolution in the English theater. Savagely, sadly, and always impolitely, it compels readers and audiences to acknowledge the hidden currents of rottenness and rage in what used to be called "the good life."

      Look Back in Anger
      3,6