George Bernard Shaw emerged as a pioneering playwright who sought to dismantle societal complacencies and hypocrisies through drama. A strong advocate for incorporating social criticism into theater, Shaw was deeply influenced by Henrik Ibsen, whom he admired for addressing contemporary issues and engaging audiences in realistic dialogue. Shaw's works are marked by a profound critique of Victorian norms, a drive to promote social reform, and a belief in humanity's capacity for improvement.

Shaw’s Dramatic Philosophy and Influences

Shaw's approach to drama was heavily inspired by the Norwegian playwright Henrik Ibsen, whose work he introduced to British audiences as a model of realistic and reformative theater. In his writing, Shaw sought to emulate Ibsen's focus on social issues and discussion-led dialogues. Shaw's departure from the traditional idolization of William Shakespeare opened the British stage to more socially conscious themes, challenging the established "Sardoodledom" of the Victorian era.

Shaw saw himself as a societal prophet, tasked with suggesting pathways to a better civilization. Like Charles Dickens, Shaw aimed to be a radical reformer, combining humor with critical social observation. While Oscar Wilde shared Shaw’s Irish heritage and comedic flair, their goals diverged; Shaw's agenda focused on reform, whereas Wilde’s was centered on ridicule.

Subversion of Traditional Norms

Shaw's plays consistently challenged conventional norms, often subverting traditional hero and villain roles. His characters engage in intellectual debates that unravel societal paradoxes, revealing hidden hypocrisies. This structure is evident in plays like Candida, Man and Superman, Major Barbara, and Arms and the Man. Shaw often leaves audiences questioning their assumptions before guiding them to a Shavian vision of society.

Shaw’s Secular Religion and Life Force

A key aspect of Shaw's philosophy is his concept of the Life Force, a secular belief in humanity’s intrinsic drive to improve and evolve. Influenced by Arthur Schopenhauer, Shaw’s Life Force represents a collective will driving societal progress. He argued against reliance on divine intervention, advocating for human responsibility in shaping destiny. Shaw’s belief in the Life Force is vividly depicted in "The Revolutionist’s Handbook" from Man and Superman and forms the crux of his life-preserving philosophy.

Man and Superman and Creative Evolution

In Man and Superman, Shaw explored the theme of creative evolution, portraying the character Don Juan as a proponent of the Life Force. This play suggests that human evolution is driven by a will to improve rather than environmental adaptation, countering Darwin’s theories. The "Don Juan in Hell" sequence in the play encapsulates Shaw’s vision of humanity’s evolutionary potential.

Back to Methuselah: The Masterpiece

Back to Methuselah is considered by Shaw as his masterpiece, delving deeper into creative evolution and the potential of the Life Force. The play presents a future where humans, through willpower, can live long enough to gain immense wisdom. Shaw’s preface highlights the belief in self-reliance over divine salvation, positing that humanity must consciously strive for its own betterment.

Educational Plays of Intellectual Debate

Shaw sought to educate his audiences through plays infused with intellectual discussions, Shavian wit, and comedy. His characters often debate social and ethical issues, compelling spectators to reassess their beliefs and societal norms. This approach is evident in several of his works, which are structured to provoke thought and inspire change.

Candida: A Mystery of Dependency

First produced in 1897, Candida is a part of Shaw’s "Plays: Pleasant" collection. It centers on the socialist speaker Reverend Morell, who comes to realize that his wife Candida is the true foundation of his success. The young nobleman Eugene’s revelation that he loves Candida and sees her husband as repulsive exposes Morell’s dependency on his wife....