Word: anouilh
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Dates: during 1950-1959
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...sense Joan goes through the entire play with "her eyes skyward." This is a far different approach from the one which Jean Anouilh and Lillian Hellman took in The Lark--a comparison of the two plays seems both inevitable and intriguing--and dramatically it is a much more difficult approach. Shaw has purposely deprived himself of the spontaneous, natural, earthy Joan who made such an attractive heroine for Anouilh. Instead he has made her a saint--and everyone knows that there is nothing duller than a saint's life...
InRing Round the Moon, which opened the Group 20 Players' fourth season at Wellesley last week, playwright Jean Anouilh and translator Christopher Fry are working with a regular chestnut of a dramatic medium. The plot concerns the attempt of a young bon vivant to amuse himself by smuggling a poor dancer into a society ball, so that she may embarrass all his snobby friends and at the same time cure his identical-twin brother of lovesickness. Among the several figures crouched behind the bushes--one can't help thinking--are Richard Sheridan, Oscar Wilde, and whoever it was that wrote...
...root of the matter is the fact that the people who worked the play up are all pretty talented. Anouilh created a fast-moving and well-confused story, making even his stock characters interesting--the butler wonderfully antique, the rich Messerschmann intriguingly reduced to eating nothing but noodles, "without butter and without salt." Fry, in translating and adapting Anouilh's orignal L'invitation au chateau, left the dramatic action intact but colored up the prose considerably, at the same time avoiding any over-fanciful flights of words. Only in the third act, when there is too much emphasis...
...Trojan and all subsequent wars. Audiences might argue whether Samuel Beckett's puzzling, plotless Waiting for Godot was profound art or a mere philosophic quiz show; less arguable was the neatness of its writing, the desolation of its mood. In Lillian Hellman's sharp adaptation, Jean Anouilh's The Lark proved a lively stage piece; under Tyrone Guthrie's vivid direction, Marlowe's Tamburlaine the Great, if still no play, was rich in theater, spectacle, rhetoric...
...praised the efforts of Tennessee Williams, Arthur Miller, Jean Anouilh, Paddy Cheyevski...