Progress and Theatrical Illusion: The Theater of Commitment in George Bernard Shaw’s Heartbreak House (1915) (notice n° 164179)
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|---|---|
| fixed length control field | 01093cam a2200157 4500500 |
| 005 - DATE AND TIME OF LATEST TRANSACTION | |
| control field | 20250112033504.0 |
| 041 ## - LANGUAGE CODE | |
| Language code of text/sound track or separate title | fre |
| 042 ## - AUTHENTICATION CODE | |
| Authentication code | dc |
| 100 10 - MAIN ENTRY--PERSONAL NAME | |
| Personal name | Guy, Stéphane |
| Relator term | author |
| 245 00 - TITLE STATEMENT | |
| Title | Progress and Theatrical Illusion: The Theater of Commitment in George Bernard Shaw’s Heartbreak House (1915) |
| 260 ## - PUBLICATION, DISTRIBUTION, ETC. | |
| Date of publication, distribution, etc. | 2002.<br/> |
| 500 ## - GENERAL NOTE | |
| General note | 47 |
| 520 ## - SUMMARY, ETC. | |
| Summary, etc. | A major play in the production of George Bernard Shaw, Heartbreak House reflects his conception of a theatre of commitment: for the betterment of English society, the theatre may reconcile æsthetics and politics, thereby becoming an aim rather than merely a means. By representing the decadence stigmatised by the playwright together with disillusion and improvement, the play establishes a metatheatre where dramatic space proves a metaphor of Shaw’s committed stage, where characters outgrow the limits of illusion by deconstructing their theatrical essence. |
| 786 0# - DATA SOURCE ENTRY | |
| Note | Études anglaises | Volume 55 | 1 | 2002-01-01 | p. 40-50 | 0014-195X |
| 856 41 - ELECTRONIC LOCATION AND ACCESS | |
| Uniform Resource Identifier | <a href="https://shs.cairn.info/journal-etudes-anglaises-2002-1-page-40?lang=en">https://shs.cairn.info/journal-etudes-anglaises-2002-1-page-40?lang=en</a> |
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