Search results for ""Author John Osborne""

John Osborne was born in London in 1929. He worked as a journalist for a number of trade magazines before becoming an Assistant Stage Manager and actor with several repertory companies. Look Back in Anger (1956) has come to stand as a key text for modern British Drama, and prompted other successes with The Entertainer and Epitaph for George Dillon. He was the first of many writers to be 'discovered' by the Royal Court Theatre, and Look Back in Anger was the first of the Royal Court's plays to be internationally recognised. Osborne adapted Look Back in Anger and The Entertainer for film. He also wrote an Oscar winning screenplay adaptation of Henry Fielding's novel Tom Jones.

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Set against the backdrop of post-war Britain, John Osborne's The Entertainer conjures the seedy glamour of the old music halls for an explosive examination of public masks and private torment.First staged at the Royal Court Theatre, London, only eleven months after the opening of Look Back in Anger, the play has become a classic of twentieth-century drama.

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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, 13 May 1956'Look Back in Anger... has its inarguable importance as the beginning of a revolution in the British theatre, and as the central and most immediately influential expression of the mood of its time, the mood of the "angry young man".' John Russell Taylor

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When John Osborne died at Christmas 1994, his obituaries cited his autobiographical writings as perfect examples of undiluted talent and acerbic wit. Now, Osborne's superb autobiographies, A Better Class of Person: 1929-1956 and Almost a Gentleman: 1955-1966 (winner of the J. R. Ackerley Prize), are available for the first time in one volume, Looking Back.'A brilliant, funny, melancholy and acrimonious book of memoirs . . . Almost every page confirms that his powers as an elegist, definer of the Zeitgeist and master of unforgiving disgust remain undimmed.' ObserverThis volume also contains 'Bad John', a review by Alan Bennett of A Better Class of Person, and David Hare's eulogy for John Osborne at the memorial service for Osborne in 1995.

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I can't escape it. I can't forget it. And I can't begin again.Bill Maitland, a middle aged lawyer, struggles to avoid the harsh truths of his life. As those closest to him draw away, he puts himself on trial to fight for his sanity. John Osborne's poignant, witty and compelling portrait of loss, betrayal and defeat releases the author's characteristic display of soaring rhetorical venom to powerful effect. First performed at the Royal Court Theatre in 1964, Inadmissible Evidence received a major revival at the Donmar Warehouse, London, in October 2011.'This is a work of stunning and intemperate power, a great bellow of rage and pain... there is a self-lacerating honesty about his writing that few other playwrights have come close to matching.' Daily Telegraph

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Photography, one of the most influential inventions of the nineteenth century, has been shaped by Canadian innovators. Among them are two Quebec men who have flown beneath the radar in studies of the history of photography: the Smeaton brothers.Out of the Studio documents the life, oeuvre, and achievement of Charles Smeaton and his younger brother, John. Launched by the opening of their “photographic gallery” in 1861, they developed a reputation in Quebec for images of contemporaneous people, places, and events taken in challenging outdoor settings. Smeaton pictures of the aftermath of the Great Fire of Quebec in 1866 helped bring an understanding of the disaster to an international audience; images featuring the gold mining industry were displayed at the Exposition universelle in Paris the following year. When Charles travelled to Europe in 1866, he accomplished a feat previously thought impossible, taking the first successful photographs in the Roman catacombs. John moved to Montreal in 1869, where he worked for newspapers and developed techniques for the direct transfer of photographs into print without the necessity of intermediary engravings.Out of the Studio is the first comprehensive biographical study detailing the innovation and imagination of the Smeaton brothers and their legacy of images across two continents.

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Description OpenShift, an innovative enterprise infrastructure management system from RedHat, radically simplifies the day-to-day operation of deploying and maintaining large-scale applications. OpenShift in Action teaches readers how to set up and manage container-based infrastructure using OpenShift. Along the way, they’ll discover techniques for handling persistent storage and best practices for security and other fundamental tasks. Key features · Teaches from the ground up · Hands-on examples · Covers troubleshooting best practices Audience Written for operations engineers and developers with experience in a Linux-based distributed environment. About the technology The OpenShift container management platform (CMP) uses Docker, Kubernetes, and other container-oriented technologies to ease cluster management, scaling, and upgrades.

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The Origin of German Tragic Drama is Walter Benjamin's most sustained and original work. It begins with a general theoretical introduction on the nature of the baroque art of the sixteenth and seventeenth centuries, concentrating on the peculiar stage-form of royal martyr dramas called Trauerspiel. Benjamin also comments on the engravings of Durer and the theatre of Calderon and Shakespeare. Baroque tragedy, he argues, was distinguished from classical tragedy by its shift from myth into history. Georg Lukacs, an opponent of Benjamin's aesthetics, singled out The Origin of German Tragic Drama as one of the main sources of literary modernism in the twentieth century.

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Cited by Lukács as a principal source of literary modernism, Walter Benjamin's study of the baroque stage-form called Trauerspiel (literally, "mourning play") is the most complete document of his prismatic literary and philosophical practice. Engaging with sixteenth- and seventeenth-century German playwrights as well as the plays of Shakespeare and Calderón and the engravings of Dürer, Benjamin attempts to show how the historically charged forms of the Trauerspiel broke free of tragedy's mythological timelessness. From its philosophical prologue, which offers a rare account of Benjamin's early aesthetics, to its mind-wrenching meditation on allegory, The Origin of German Tragic Drama sparkles with early insights and the seeds of Benjamin's later thought.

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