In what way is pygmalion a shavian play. Реферат. Английский.

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Bernard
Shaw – the outstanding English playwright, one of the founders of a realistic
drama of XX century, the talented satirist, the humorist, the wittiest paradox
composer. Shaw has entered drama area as the original innovator. He has
confirmed at English theatre new type of a drama – an intellectual drama in
which the basic place belongs not to an intrigue, nor to fascinating plot but
to those intense disputes, witty verbal duels which are conducted by its
heroes. Shaw named the plays "plays-discussions". They grasped depth
of problems, the extraordinary form of their resolution; they excited
consciousnesses of the spectator, forced it to reflect tensely over an event
and cheerfully to laugh together with the playwright at absurd of existing
laws, orders and customs. In this assignment I intend to analyze the play «Pygmalion»
of Bernard Shaw and show his peculiarities in order to answer the question: Why
Pygmalion is Shavian?


Every
piece of literature needs an opening part and a good introduction. It should
not only be an introduction to the place where it happens, but also an
introduction to the different characters, the surroundings or the time. But in
a play like Pygmalion, not only an introduction is needed, the reader or viewer
of a play need additional information on the different characters. They need to
know something about their background, what they are doing on or in a certain
scene. The audience also needs this background information to understand
actions in the course of the play. Even though this might sound easy, it is
hard to include all these information in a play, since the author of a play
does not have the same possibilities as an author of a novel has. A novelist
can include these information into the text. A playwright on the other hand needs
to consider how he can transmit background information especially to the viewer
of the play without disturbing the actual plot of the play.


Pygmalion
by George Bernard Shaw does not have anything similar. It has, in fact, a
preface, but the preface does not reveal much about the actual background of
one of the characters or gives a foreshadowing on the plot. Instead the preface
of Pygmalion focuses more on one of the themes in the play, Phonetics. It gives
the reader some scientific background into the field of Phonetics and the
persons who, in a way, inspired Shaw to the characters. It also includes some
personal opinions on the play.


In
Pygmalion’s plot, Higgins, a phonetics expert, makes a friendly bet with his
colleague Colonel Pickering that he can transform the speech and manners of
Liza, a common flower girl, and present her as a lady to fashionable society.
He succeeds, but Liza gains independence in the process, and leaves her former
tutor because he is incapable of responding to her needs.


Pygmalion
has a tightly-constructed plot, rising conflict, and other qualities of the
“well-made play,” a popular form at the time. Shaw, however, revolutionized the
English stage by disposing of other conventions of the well-made play; he
discarded its theatrical dependence on prolonging and then resolving conflict
in a sometimes contrived manner for a theater of ideas grounded in realism.
Shaw was greatly influenced by Henrik Ibsen, who he claimed as a forerunner to
his theatre of discussion or ideas. Ibsen’s A Doll House, Shaw felt, was an
example of how to end a play indeterminately, leading the audience to reflect
upon character and theme, rather than simply entertaining them with a
neatly-resolved conclusion.


All
plays of Shaw meet the major standards presented by Brecht to modern theatre, particularly:
the theatre should aspire «to represent human nature as giving in to change and
depending on a class association».


The
high interest of Shaw with character and social standing relation especially
proves the fact that Shaw has made radical character transformation the main
theme of the play «Pygmalion». Entirely clear the intention pursued by Shaw,
having named the play a name of the mythical king. Name ‘Pygmalion’ should
remind that Eliza Doolittle has been created in the same way as Galatea by
Pygmalion. The person can be formed by person that is a lesson of this, by own
recognition of Shaw, «intensively and meaningly didactic» play. It is that
lesson for which Brecht called, demanding that «construction of one figure was carried
depending on a construction of other figure because in the life we mutually
form each other».


Among
literary critics there is an opinion, that Shaw’s plays more than plays of
other playwrights propagandize certain political ideas. The doctrine about changeability
of a human nature and its dependence on a class association is not that other,
as the doctrine about social determinacy. The play «Pygmalion» is the good study-book
in which the determinism issues are considered. Even the author considered it
as "the outstanding didactic play».


In
order to show how radically can be changed a person Shaw chose the method of
transition from one extreme measure into another. If such radical change of the
person probable in a considerably short time the spectator should tell to
itself, that then is possible also any other changes of a human being.


Here
is what Professor Higgins thinks:


“But
you have no idea how frightfully interesting it is to take a human being and
change her into a quite different human being by creating a new speech for her.
It's filling up the deepest gulf that separates class from class and soul from
soul”


Bernard
Shaw gave a lot of attention to language problems. The play had a serious task:
Shaw wished to attract the attention of the English public to phonetics. He
stood up for creation of the new alphabet which to a greater extent correspond
to the sounds of the English language than nowadays existing and which would
facilitate a problem of studying of this language to children and foreigners.


To
this problem Shaw repeatedly came back throughout his life and according to his
will the big sum has been left for the creation of the new English alphabet.


Shaw,
perhaps, the first has realized omnipotence of language in a society, its
exclusive social role about which indirectly in the same years psychoanalysis has
started talking. Shaw has told about it in placard-instructive but from that is
not less ironic-fascinating “Pygmalion”. Professor Higgins, let and in the
narrow special sphere, but nevertheless has outstripped structuralism and post
structuralism which in the second half of the century will make the ideas of
"discourse" and “totalitarian language practices” their central
theme.


THE
NOTE TAKER (Higgins). You see this creature with her curbstone English: the
English that will keep her in the gutter to the end of her days.


Thus
in «Pygmalion» Shaw masterfully has connected two themes equally exciting him:
a problem of a social inequality and a problem of the classical English
language. Act by act, word by word we understand that the set of behaviour,
that is the form and the speech maintenance, a manner of judgment and the
thoughts, habitual acts and typical reactions of people are adapted for the conditions
of their environment. The subjective being and the objective world correspond
each other and mutually penetrate each other.


From
the author the big expense of drama means was required to convince of it each
spectator. Shaw has found this means in systematical application of alienation
effect forcing the characters from time to time to act in another environment
that then step by step to return them into their own environment, skillfully
creating at the beginning false representation concerning their present essence
then this impression gradually and methodically alters.


Logic,
the didactics and following to the concept of determinism so peculiar to Shaw force
the reader to ponder upon each word to analyze each action of characters. The
iceberg style is felt when deeply complicated social issues and philosophical
views of the author are hidden under simple, apparently, displays of characters.
Shaw prefers simple and compound sentences to complex ones. At the same time
Shaw’s works are full of paradoxes, and “Pygmalion” is not exclusion.


"What is
life but a series of inspired follies?"


"Would
the world ever have been made if its maker had been afraid of making trouble?
Making life means making trouble."
The
Shavian forethought is felt in the whole play. Even the interjections can not
be changed by the actors. The interjections and grammatical mistakes is not
used by Shaw simply as a comedian colouring but to expose the class distinction
and to show how miserable is a person who can not explain his thoughts and
resorts to different primitive sound combinations.


1.
LIZA
[protesting extremely] Ah--ah--ah--ah--ow--ow--oooo!!! I ain't dirty: I washed
my face and hands afore I come, I did.


2.
LIZA
[overwhelmed] Ah--ah--ow--oo!


HIGGINS.
There! That's all you get out of Eliza. Ah--ah--ow--oo! No use explaining.


Though
on a genre «Pygmalion» can be considered as a comedy with the elements of
narration like in a romance. In calling Pygmalion a romance (its subtitle is “A
Romance in Five Acts”), Shaw was referencing a well-established literary form
(not usually employed in theatre), to which Pygmalion does not fully conform.
(Shaw was aiming to provoke thought by designating his play thusly.) The term
romance does not imply, as it was misinterpreted to mean by many of Shaw’s
contemporaries, a romantic element between Liza and Higgins. Since the middle
ages, romances have been distinguished from more realistic forms by their
exotic, exaggerated narratives, and their idealized characters and themes. Shaw
playfully suggests Pygmalion is a romance because of the almost magical
transformations which occur in the play and the idealized qualities to which
the characters aspire.


Shaw
broke both with the predominant intellectual principle of his day, that of “art
for art’s sake,” as well as with the popular notion that the purpose of the
theatre was strictly to entertain. Refusing to write a single sentence for the
sake of either art or entertainment alone, Shaw openly declared that he was for
a theater which preached to its audience on social issues. Edward Wagenknecht
wrote in A Guide to Bernard Shaw that Shaw’s plays “are not plays: they are
tracts in dramatic form.” He further reflected a popular perception of Shaw’s
plays as intellectual exercises by stating that Shaw “has created one great
character — G.B.S. [George Bernard Shaw] — and in play after play he performs
infinite variations upon it.” Thus, in his day Shaw was viewed as succeeding
despite his dramatic technique rather than because of it. Wagenknecht again:
“it is amazing that a man whose theory of art is so patently wrong should have
achieved such a place as Shaw has won.”


Though
his plays do tend towards ideological discussion rather than dramatic tension,
Shaw succeeded because he nevertheless understood what made a play theatrical,
wrote scintillating dialogue, and always created rich, complex characters in
the center of a philosophically complex drama. Among his character creations
are some of the greatest in the modern theatre, especially the women: Major
Barbara, Saint Joan, Liza Doolittle. Also, Shaw’s deep belief in the need for
social improvement did not prevent him from having a wry sense of humor, an
additional component of his dramatic technique which helped his plays,
Pygmalion most predominantly, bridge a gap between popular and intellectual
art.


In
view of careful underlining of influence of environment the spectator easily
could have a false representation as if characters in the world of heroes of Shaw
entirely give in to restriction by influence of environment. For the prevention
of this undesirable mislead Shaw with similar carefulness has brought in the
play the thesis about existence of natural abilities and their value for this
or that individual. This position is concretized at once in all four personages
of the play: Liza, Higgins, Doolittle and Pickering.


In
«Pygmalion» as well as in many products of B.Shaw the idea about boundless
possibilities of the person lays. The spectator understands, that Eliza has
become the lady not only due to the fact that she has been taught to dress and
speak as the lady, but also due to her persistence and mental abilities. But “Pygmalion”
would not be Shavian if there were no didactics, contrasts and many-sidedness. The
instructiveness of the play consists in synthesis — determinative for a human
being is its public relation to other people. But the public relation is
something more, than unilateral behaviour of the person and the unilateral
reference with it. The public relation includes two parties: behaviour and the
reference. Eliza from the flower-girl becomes the lady due to that fact that simultaneously
with her behaviour changed the treatment with her which she felt in her
society.


Shaw
masterful conducts creation and comparison of characters and on an example of his
heroes brightly opens defects and advantages of various class groups. At the
same time he allocates people of one class with habits peculiar to people of
absolutely different class. Thus, characters of plays of Shaw become closer and
more transparent to readers and spectators. In Shaw’s plays a person is a
sensitive, impressionable not an amebic passive subject.


From
the very beginning this dramatics is untypical. Introduction is devoted to phonetics,
and at the end imposed the idea that Higgins and Liza should be together. «Pygmalion»
is a work of Shaw and such an ending would have been misery for his characters.


The
Critical Heritage , criticized many aspects of the production but had qualified praise for
the play, “a puzzling work.” Aware that Shaw usually “does not use the drama
merely as a vehicle for telling stories,” the critic expressed a curiosity
about what “the foundation idea” of Pygmalion might be. “Curiosity, in the
present instance,” however, “remains unsatisfied. There are plenty of ideas,
but none is predominant.”






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