John Osborne Criticism
John Osborne, a pivotal figure in post-war British drama, is renowned for his critical and often contentious exploration of societal issues through theater. Born in London in 1929, Osborne's tumultuous early experiences, including the death of his father and a disrupted education, informed much of his dramatic outlook. This background contributed to the authenticity and intensity of his work, which became apparent in his debut play, Look Back in Anger. This play earned him recognition as a key member of the "angry young men," a generation of playwrights noted for challenging the established social order. Despite its structural imperfections, Look Back in Anger is celebrated for its raw emotional depth, a view extensively discussed by E. G. Bierhaus, Jr. in No World of Its Own: 'Look Back in Anger' Twenty Years Later.
Osborne's repertoire includes significant works like The Entertainer and Luther. In The Entertainer, as analyzed by Lawrence R. Ries, Osborne portrays modern despair by juxtaposing nihilism with unfulfilled social optimism. Meanwhile, Luther offers a complex psychological portrayal of the Protestant Reformation leader, known for its rhetorical sophistication and historical insight, as Niloufer Harben highlights in her essay (Niloufer Harben). However, critiques such as those by John Simon argue that Luther's focus on historical accuracy may undermine its dramatic impact ('Luther').
Osborne's work is characterized by its bold thematic content, often engaging with societal hypocrisy and controversial topics like homosexuality. However, Andrew K. Kennedy has noted a frequent imbalance in his plays between personal narratives and broader social critiques (Andrew K. Kennedy). This tension between traditional and modern styles is a recurrent theme in critiques of his work. Additionally, his co-authored play George Dillon, with Anthony Creighton, further explores human emotion and social tension, underscoring Osborne's relentless examination of provocative themes.
Despite recurring criticism for the uneven quality in his later works, as John Lahr suggests, Osborne's early plays remain transformative, engaging audiences and critics alike with their abrasive honesty and social commentary. Critics like Larry Langford have observed that interpretations of Osborne's plays often intersect with views on his political beliefs, reflecting the contentious nature of his public persona (Larry Langford). Nonetheless, as David Galef articulates in his analysis of Osborne's use of language as a tool for social criticism, his impact on British theater endures (David Galef).
Ultimately, John Osborne's legacy as a catalyst for change in British theater is undeniable. While Aleks Sierz acknowledges the mixed reviews of Osborne's body of work, his role in reshaping the landscape of British drama is significant and lasting (Aleks Sierz). Through his bold narratives and complex character portrayals, Osborne continues to provoke discussion and inspire critical thought.
Contents
- Principal Works
- Osborne, John (Vol. 2)
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Inadmissible Evidence
(summary)
In the following essay, Wilfrid Sheed argues that John Osborne's plays consistently explore the recurring character of "the Osborneman," who embodies both society's victim and perpetrator, with varied depictions of his complicity and intensity, ultimately reflecting the inseparable nature of society's and the individual's flaws.
- Osborne, John (Vol. 5)
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Osborne, John (Vol. 11)
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'Luther'
(summary)
In the following essay, John Simon critiques John Osborne's play Luther for failing to create a compelling and dynamic protagonist, arguing that its reliance on historical accuracy and the playwright's inability to vivify characters and settings result in a lackluster imitation of Brechtian drama.
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'A Patriot for Me'
(summary)
In the following essay, John Simon critiques John Osborne's play "A Patriot for Me," arguing that it is an unnecessary and superficial work reflecting Osborne's inability to adapt his signature invective style to new social contexts, resulting in a lack of depth and meaningful engagement with themes like ambition and societal corruption.
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John Lahr
(summary)
In the following essay, John Lahr critiques John Osborne's adaptation of The Picture of Dorian Gray, arguing that Osborne's theatrical skills are overrated and his recent works lack the powerful, poetic language of his earlier career, resulting in a stage production that reduces the dynamic potential of Wilde's novel.
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Andrew K. Kennedy
(summary)
In the following essay, Andrew K. Kennedy argues that John Osborne's dramatic language struggles to balance personal and social elements, often relying on rhetoric that lacks inwardness, resulting in a "restless search for a style" and a tension between traditional and modern theatrical language.
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No World of Its Own: 'Look Back in Anger' Twenty Years Later
(summary)
In the following essay, E. G. Bierhaus, Jr. analyzes John Osborne's Look Back in Anger, arguing that while the play's transparent structure, arbitrary motivations, and flawed characterizations limit its engagement with modern audiences, its portrayal of raw anger marked a significant departure from previous dramatic traditions, enhancing its landmark status in theatrical history.
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Lawrence R. Ries
(summary)
In the following essay, Lawrence R. Ries argues that John Osborne's characters, particularly in The Entertainer, embody a nihilistic acceptance of modern despair, contrasting Archie's bleak outlook with his daughter Jean's hopeful yet ultimately inadequate social commitment.
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'Luther'
(summary)
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Osborne, John
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Coping with Vulnerability: The Achievement of John Osborne
(summary)
In the following essay, Goldstone addresses misconceptions about Osborne's life and work.
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Look Back in Anger
(summary)
In the following essay, Hinchliffe surveys the critical reaction to Look Back in Anger.
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No Good Brave Causes? The Alienated Intellectual and the End of Empire
(summary)
In the following essay, Cairns and Richards explore the issue of colonialism in Look Back in Anger.
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Three Plays of the 1960s
(summary)
In the following excerpt, Harben identifies sources for Osborne's Luther and describes the critical reaction to the play. John Osborne's Luther presents another instance of a playwright being drawn to a historical subject for its religious interest. Yet Osborne's approach and achievement vary significantly from Bolt's and Shaffer's. His play, an arresting psychological study of a turbulent individual, at odds with himself and the social and religious institutions of his time, is one of considerably greater force and depth. Like Bolt, Osborne incorporates many of his central historical figure's recorded sayings into the dialogue of his play, but, unlike Bolt, he is able to match them with an urgent vital language of his own. This often results in impressive flights of rhetorical virtuosity or sequences of balanced arguments. Like Shaffer, he uses striking physical images, flamboyant spectacle and theatrical posture to create telling dramatic moments, but, where Shaffer indulges in these for their own sake, Osborne uses them with purpose, to reflect inner meaning or make a broad public point.
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Anger and the Actor: Another Look Back
(summary)
In the following essay, Egan considers the enduring appeal of Look Back in Anger, focusing on the character of Jimmy Porter.
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Osborne, Pinter, Stoppard
(summary)
In the following excerpt, Watson asserts that Look Back in Anger played a seminal role in the revival of British theater in the mid-1950s.
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Still Looking Back: The Deconstruction of the Angry Young Man in Look Back in Anger and Déjàvu
(summary)
In the following essay, Dixon maintains that Osborne's later play Déjàvu provides insight into Jimmy Porter's powerlessness in Look Back in Anger.
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John Osborne and the Myth of Anger
(summary)
In the following essay, Sierz investigates how Look Back in Anger became an iconic work.
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The Unsocial Socialism of John Osborne
(summary)
In the following essay, Langford contends that critical opinions of Osborne’s plays were often intertwined with opinions of his political intentions and integrity.
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Beyond Anger: Osborne's Wrestle with Language and Meaning
(summary)
In the following essay, Galef analyzes the role of language and communication in Osborne's plays.
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The Personal, the Political, and the Postmodern in Osborne's Look Back in Anger and Déjàvu
(summary)
In the following essay, Quigley contends that Déjàvu offers some insight into why Look Back in Anger is “widely regarded as a very important but not very good play.”
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A Post-Colonial World: Look Back in Anger and The Enigma of Arrival
(summary)
In the following essay, Allen compares the treatment of British colonial culture in Look Back in Anger to V. S. Naipaul's The Enigma of Arrival.
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Coping with Vulnerability: The Achievement of John Osborne
(summary)
- Further Reading