Look Back in Anger
A Play in Three Acts
(Sprache: Englisch)
Look Back In Anger by John Osborne changed the course of English theatre in 1956 and expresses the mood of post-war Britain with originality, clarity and surrealist humour.
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Produktinformationen zu „Look Back in Anger “
Look Back In Anger by John Osborne changed the course of English theatre in 1956 and expresses the mood of post-war Britain with originality, clarity and surrealist humour.
Klappentext zu „Look Back in Anger “
John Osborne's 'Look Back in Anger' changed the course of English theatre. It presents post-war youth as it really was and expresses the mood of its time, the mood of the 'angry young man'.
Autoren-Porträt von John Osborne
John Osborne was born in London in 1929. Before becoming a playwright he worked as a journalist, assistant stage manager and repertory theatre actor. Seeing an advertisement for new plays in The Stage in 1956, Osborne submitted Look Back in Anger. Not only was the play produced, but it was to become considered as the turning point in post-war British theatre. His other plays include The Entertainer (1957), Luther (1961), Inadmissible Evidence(1964), and A Patriot for Me (1966). He also wrote two volumes of autobiography, A Better Class of Person (1981) and Almost a Gentleman (1991) published together as Looking Back: Never Explain, Never Apologise. His last play, Deja Vu (1991), returns to the characters of Look Back in Anger, over thirty years later. Both Look Back in Anger and The Entertainer were adapted for film, and in 1963 Osborne won an Academy Award for his screenplay for Tom Jones. John Osborne died on 24 December 1994.
Bibliographische Angaben
- Autor: John Osborne
- 2001, 112 Seiten, Masse: 12,6 x 20 cm, Kartoniert (TB), Englisch
- Verlag: Faber & Faber, London
- ISBN-10: 0571038484
- ISBN-13: 9780571038480
Sprache:
Englisch
Rezension zu „Look Back in Anger “
'In 1956 John Osborne's Look Back in Anger changed the course of English theatre. Look Back in Anger presents post-war youth as it really is. To have done this at all would be a significant achievement; to have done it in a first play is a minor miracle. All the qualities are there, qualities one had despaired of ever seeing on stage - the drift towards anarchy, the instinctive leftishness, the automatic rejection of "official" attitudes, the surrealist sense of humour...the casual promiscuity, the sense of lacking a crusade worth fighting for and, underlying all these, the determination that no one who dies shall go unmourned.' Kenneth Tynan, Observer
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