scholarly journals A propósito de quién le teme a Virginia Woolf

2004 ◽  
pp. 75
Author(s):  
Julio Godoy Rojas
Keyword(s):  
Virginia Woolf ◽  
August Strindberg ◽  
Edward Albee

<p><em>¿Quién le teme a Virginia Woolf?, </em>de Edward Albee, es una obra que recoge las resonancias más típicamente contemporáneas del teatro actual. Generalizando, podemos sintetizar las tendencias que privan en el teatro contemporáneo en dos grandes corrientes: el llamado teatro del absurdo y otro, más o menos tradicional, en el que todavía se hace sentir como fuerza rectora el bien o el mal llamado realismo, con aportes del naturalismo y del expresionismo. Me refiero a un teatro de personajes que imitan a las personas, en un mundo reconocible en el que imperan leyes físicas de espacio y tiempo, dentro de una situación dramática que conduce a una resolución. Un teatro que ha desoído a August Strindberg, que en el Prefacio a <em>Ett Driimspel </em>(Obra de sueño, 1906), anunciaba un nuevo teatro en el que "el tiempo y el espacio no existen. Sobre una leve base de realidad, la imaginación hila y trama nuevos modelos hechos de recuerdos, experiencias, fantasías desenfrenadas, cosas absurdas e improvisaciones". Los personajes dejan a un lado la lógica, la historia y la psicología, para adentrarse en el mundo del absurdo.</p><p> </p>

Edward Albee’s Who’s Afraid of Virginia Woolf? by Edward Albee

2013 ◽  
Vol 65 (3) ◽  
pp. 416-417
Author(s):  
Michael Y. Bennett
Keyword(s):  
Virginia Woolf ◽  
Edward Albee

scholarly journals La versión catalana de Who's afraid of Virginia Woolf?, de Edward Albee: El caso de un original doblemente traicionado

2017 ◽  
pp. 83
Author(s):  
Ramón Espejo Romero
Keyword(s):  
Virginia Woolf ◽  
Edward Albee

 Who's afraid of Virginia Woolf? (1962) es una de las obras más importantes del teatro norteamericano y, sin duda, la más popular de su autor, Edward Albee. En 1990 se estrenó en Barcelona una versión catalana de la misma, cuyo título era Qui té por de Virginia Woolf?. La traducción era de Jordi Arbonès y la puesta en escena de Hermann Bonnin, con dramaturgia de Joan Casas. Al original americano no se le dispensó un tratamiento ejemplar ni por parte de su traductor ni de su adaptador. La puesta en escena redujo la obra original a la mitad. Por si eso fuera poco, el texto en que se basaba no era una traducción del original inglés, como cabría esperar, sino de una versión argentina realizada en los años 60, y contenía, por ello, importantes desviaciones con respecto a lo escrito por Albee. En algunos casos esto tuvo lugar en pasajes de crucial importancia para el sentido global de la pieza. El presente trabajo trata de demostrar la doble traición sufrida por el texto de Edward Albee, centrándose, lógicamente, en la cometida por su traductor.  

scholarly journals THE CONCEPT OF CRUELTY IN THREE EDWARD ALBEE’S PLAYS

2019 ◽  
pp. 157
Author(s):  
Natalija Stevanović
Keyword(s):  
Virginia Woolf ◽  
Verbal Abuse ◽  
Antonin Artaud ◽  
Edward Albee ◽  
Bessie Smith ◽  
Central Purpose

The main purpose of this paper is to analyze the ways in which cruelty is used in the selected three plays by Edward Albee. All of the ways examined can ultimately be connected to the central purpose of the Theatre of Cruelty by Antonin Artaud, which is to reveal what is real, or, as Albee claims, to put up “an accurate mirror of reality” (Amacher 1969: 22). The first part of the paper covers definitions of cruelty and the Theatre of Cruelty, and also connects Edward Albee to Antonin Artaud. The following three sections provide the analysis of the plays by Edward Albee - “The Zoo Story” (1959), “Who’s Afraid of Virginia Woolf?” (1962), and “The Death of Bessie Smith” (1960). There are different ways in which characters in these plays use cruelty; in “The Zoo Story” cruelty is combined with kindness in the shape of teaching emotion; in “Who’s Afraid of Virginia Woolf?” the characters use cruelty to annihilate the illusion and perform catharsis and exorcism; and, finally, in “The Death of Bessie Smith”, cruelty is presented in the form of psychological and verbal abuse.

scholarly journals Paula Vogel And The Modern American Female Playwrights

2021 ◽  
Vol 0 (44) ◽  
pp. 46-71
Author(s):  
Rasha Abdulmunem Azeez ◽  
Keyword(s):  
Bertolt Brecht ◽  
Tennessee Williams ◽  
August Strindberg ◽  
Pulitzer Prize ◽  
Arthur Miller ◽  
Edward Albee ◽  
Female Writers ◽  
Paula Vogel

Reading and analyzing Paula Vogel’s plays, the readers can attest that she achieves success in drama or theater because she is passionate about theater. Vogel is a modern American playwright who won the 1998 Pulitzer Prize for drama. Her success and insight in playwriting or in adapting do not come all of a sudden; she is influenced by many writers. Vogel is influenced by many American dramatists, including Eugene O’ Neill, Arthur Miller, Tennessee Williams, and Edward Albee, and by other non-American writers, including August Strindberg, Anton Chekhove, and Bertolt Brecht. Certainly, there were female playwrights who wrote preeminent plays and they influence Vogel as well. Nevertheless, dramas by female writers, as a matter of fact, remain marginalized. This paper focuses on the influence of some female playwrights on Vogel.

Strindberg, August (1849–1912)

2018 ◽  
Author(s):  
Sarah Balkin
Keyword(s):  
21St Century ◽  
Henrik Ibsen ◽  
August Strindberg ◽  
Edward Albee ◽  
Life And Death ◽  
Caryl Churchill ◽  
Personal Crisis ◽  
Ingmar Bergman ◽  
Sarah Kane ◽  
Georg Kaiser

August Strindberg is Sweden’s most important writer and one of the most influential dramatists of the late 19th and early 20th centuries. Along with Henrik Ibsen, the Scandinavian dramatist with whom he is most often compared, Strindberg transformed modern Western theater, inspiring playwrights such as Georg Kaiser, Eugene O’Neill, Edward Albee, Sarah Kane, and Caryl Churchill as well as the film and theater director Ingmar Bergman. Strindberg’s plays span the naturalism of early European Modernism as well as Symbolism and Expressionism. His work in nondramatic genres and media includes novels, autobiography, journalism, poetry, essays, painting, and photography. Outside of Sweden Strindberg is known as a personality and a playwright who mined his own and others’ experiences for his art. The miseries of marriage are central to many of Strindberg’s plays, which underwent radical stylistic changes following a personal crisis in the mid-1890s. Strindberg’s experiments with alchemy and occultism during this period influenced his later works, which frequently represent dreams, states between life and death, and the transformability of matter. In the 21st century, Strindberg’s plays are mainstays of world drama.

scholarly journals Edward Albee’s Eugenic Theatrics: Disability Presence in Who’s Afraid of Virginia Woolf?

2011 ◽  
Vol 31 (2) ◽  
Author(s):  
Ann Fox
Keyword(s):  
Twentieth Century ◽  
Middle Class ◽  
Genetic Engineering ◽  
Disability Studies ◽  
Virginia Woolf ◽  
Edward Albee ◽  
Gender Oppression

<p>Edward Albee&rsquo;s 1962 play <em>Who&rsquo;s Afraid of Virginia Woolf? </em>is a landmark American play for the challenges it presented to conventional theater, both thematically and dramaturgically.&nbsp; In this essay, I argue that recognizing the disability presence in Albee&rsquo;s play as embodied in the work&rsquo;s references to eugenics is also important to a fuller understanding of the play&rsquo;s revolutionary nature.&nbsp; Through his references to pronatalism as well as genetic engineering and sterilization, Albee invokes the presence of those disabled bodies upon whose oppression the regulation of normalcy over the twentieth-century has rested.&nbsp; In this way, we can come to see that disability does not simply metaphorize the gender oppression and middle-class complacency the play attacks, but is itself also recognized and historicized.&nbsp; Reading Albee&rsquo;s play in this way further suggests the importance of re-reading canonical drama through the lens of disability studies.</p>

Text, Subtext and Performance: Edward Albee on Directinig Who's Afraid of Virginia Woolf?

1993 ◽  
Vol 34 (2) ◽  
pp. 95-110
Author(s):  
Rakesh Solomon
Keyword(s):  
Virginia Woolf ◽  
Military Intervention ◽  
Edward Albee ◽  
Declaration Of Independence ◽  
American Theatre ◽  
Fundamental Point ◽  
And Performance ◽  
Simultaneous Translation

“Who's afraid of the Tanks?” proclaimed the headline of the Lithuanian daily, Lietuvas Rytas, in its review of Edward Albee's Who's Afraid of Virginia Woolf? in Vilnius in April 1990, six weeks into the nation's tumultous declaration of independence that had brought Soviet tanks onto city streets. Seizing the fundamental point of the play – the need to destroy illusion and face reality without fear – Lithuanian audiences saw a distinct analogy with their national situation that demanded they forswear dreams of some painless future solution and confront the reality of Soviet military intervention. Their grasp of the play, despite cultural chasms and the vagaries of simultaneous translation, testified to the clarity of Albee's staging of this classic of the American theatre.

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