Resultados para "George Bernard Shaw" en Narrativa literaria

París, 1831. Una joven vestida de hombre entra en la redacción del diario Le Figaro. Ha dejado atrás sus orígenes nobles y un matrimonio infeliz y está preparada para un nuevo comienzo. Las palabras son la gran pasión de George: con su joven amante, Jules, conoce la vida del París bohemio y juntos escriben su primera novela. Pero George espera más de la vida, es valiente e inquisitiva, siempre dispuesta a romper tabúes.

When Vivie learns that her mother's harlotry is the origin of her financial support, nothing in her world can ever be the same. There are serious consequences for her suitor, her mother, and herself.

The Emporor of Rome and the Queen of the Nile as only Shaw could have imagined them! He is a self-doubting cynic who is experiencing a mid-life crisis and she is an imperious and impertinent child on the threshold of womanhood. This recording also includes Shaw's alternate Prologue and his post-text notes.

The blowhards, the know-it-alls, the scrupulous and the impecunious are all targets for Shaw's incisive wit in his classic satire of the medical profession. A well-respected physician is forced to choose whom he shall save: a bumbling friend or the ne'er-do-well husband of the woman he loves.

This witty masterpiece combines high comedy with social commentary as it deflates romantic misconceptions of love and warfare. First produced on the London stage in 1894, Arms and the Man is one of the most frequently acted and studied of Shaw's plays.

In the Greek legend, a sculptor, Pygmalion, created a statue of a woman so beautiful that he fell in love with it. Later the goddess Aphrodite responded to his earnest prayers and brought the statue, named Galatea, to life. Shaw's Pygmalion is a fussy unmarried professor of phonetics, Henry Higgins, who claims that he could train an uneducated person off the street to speak so that he or she could pass as a member of the aristocracy. His Galatea is Eliza Doolittle, who sells flowers at Covent Garden and whose father is a dissipated but cunning vagrant.

Bernard Shaw based his "religious pantomime" Androcles and the Lion on the ancient fable of the runaway slave who pulls a painful thorn from a lion's paw, thereby making a lifelong friend. This tale of a puny Greek tailor triumphing over the Roman emperor is, as always with Shaw, a commentary on the politics of his time, with the emperor standing in for the British government and, indeed, all repressive regimes.