"Shavian alphabet The Shavian alphabet (also known as the Shaw alphabet) is an alphabet conceived as a way to provide simple, phonetic orthography for the English language to replace the difficulties of conventional spelling. It was posthumously funded by and named after Irish playwright George Bernard Shaw. Shaw set three main criteria for the new alphabet: it should be (1) at least 40 letters; (2) as ""phonetic"" as possible (that is, letters should have a to phonemes); and (3) distinct from the Latin alphabet to avoid the impression that the new spellings were simply ""misspellings"". The Shavian alphabet consists of"
"Sergei Chavain Sergei Chavain, also spelled Čavajn (Mari: Сергей Чавайн, pronounced ; 6 October 1888, Maly Karamas – 11 November 1937) was a Mari poet and playwright, born Sergei Grigorievich Grigoriev (). In 1905 he wrote the first literary poem in the Mari language, ""Oto"" (Ото – The Grove). In 1908 he graduated from Kazan Teachers' Seminary. His first play was ""The Wild Duck"" in 1912, a satire of Tsarist bureaucrats. After the October Revolution, Chavain wrote several plays for the first Mari mobile theatre, such as ""The Autonomy"" (1920) and ""The Sun Rises, the Storm-clouds Disappear"" (1921), inspired by"
"and named the Sundukian Theatre, in his honor, His other major works include Embarrassment, Sneezing at Night is a Good Omen, The Husbands, Love and Freedom. Derenik Demirchian (1877–1956) and Alexander Shirvanzade (1858–1935) were playwrights who were already famous before the Communist take-over of Armenia. They stayed in Armenia and continued their creative work there for the rest of their lives. Demirchyan, a contemporary of Levon Shant, was a prolific novelist, poet and playwright. His most popular play, Nazar the Brave (Kaj Nazar, 1923), satirizes bourgeois morality and has been adapted very successfully to film. Alexander Shirvanzade, like his counterparts,"
"Siyavush (play) Siyavush is a legendary-historic play, a tragedy in five acts written by Huseyn Javid, an Azerbaijani poet and playwright in 1932-1933. It is based on motifs of an ancient story from “Shahnameh” poem by Ferdowsi, to the 1000th anniversary of the poet. In 1934, the play was published and then staged by Ismayil Hidayetzade. The play is about a destiny of young Siyavush, who lapses into philosophic thoughts about assignment of a human being, happiness and meaning of the life. Siyavush has been brought up on heroic traditions of the nation. He follows a “Be fair” behest and"
"Honorable Beggars, and Abisoghom Agha. Like Molière, he satirizes human greed, vanity and hypocrisy, using his wit with devastating effect. The most significant Western Armenian classical dramatist was Levon Shant (1869–1952), whose creative outpour spanned half a century with short stories, poems, essays, text-books and plays. (1869–1952) He was a diplomat and an educator, but his real fame rests on his powerful dramatic works. Shant was born in Istanbul and received his early education in Turkey. Later he studied at the Gevorgian Jemaran (academy) in Ejmiatsin, and at universities in Jena, Leipzig and Munich. Shant survived the genocide of the"
"Cathedral"", in which Becket's slayers explain their actions to the audience, might have been influenced by ""Saint Joan"". The critic Eric Bentley comments that Eliot's later play ""The Confidential Clerk"" ""had all the earmarks of Shavianism ... without the merits of the real Bernard Shaw"". Among more recent British dramatists, Crawford marks Tom Stoppard as ""the most Shavian of contemporary playwrights""; Shaw's ""serious farce"" is continued in the works of Stoppard's contemporaries Alan Ayckbourn, Henry Livings and Peter Nichols. Shaw's influence crossed the Atlantic at an early stage. Bernard Dukore notes that he was successful as a dramatist in America"
"stands up for the interest of nation. Siyavush perishes without finding the truth and fairness both in Iran and Turan and he understands that the truth is only in the struggle against despotism. Siyavush (play) Siyavush is a legendary-historic play, a tragedy in five acts written by Huseyn Javid, an Azerbaijani poet and playwright in 1932-1933. It is based on motifs of an ancient story from “Shahnameh” poem by Ferdowsi, to the 1000th anniversary of the poet. In 1934, the play was published and then staged by Ismayil Hidayetzade. The play is about a destiny of young Siyavush, who lapses"
"Since Shaw's death scholarly and critical opinion has varied about his works, but he has regularly been rated as second only to Shakespeare among British dramatists; analysts recognise his extensive influence on generations of English-language playwrights. The word ""Shavian"" has entered the language as encapsulating Shaw's ideas and his means of expressing them. Shaw was born at 3 Upper Synge Street in Portobello, a lower-middle-class part of Dublin. He was the youngest child and only son of George Carr Shaw (1814–1885) and Lucinda Elizabeth (Bessie) Shaw (""née"" Gurly; 1830–1913). His elder siblings were Lucinda (Lucy) Frances (1853–1920) and Elinor Agnes"
"Vladimir Shchiglev Vladimir Romanovich Shchiglev (, 1840–1903) was a Russian satirical poet and playwright, who occasionally used the pseudonyms ""Shchigrov"" (for his plays) and ""Romanych"" (for poetry, as well as journalistic miscellaneous work). Shchiglev, a Saint Petersburg University alumnus, whose major early influence was the children's writer Vasily Vodovozov, his one time gymnasium tutor, started to write early and later contributed regularly to ""Iskra"", ""Russkoye Slovo"", ""Budilnik"" and ""Niva"". His best-known play, a vaudeville called ""Pomolvka v Galyornoy gavani"" (Помолвка в Галерной гавани, The Galernaya Bay Engagement, 1873), for thirty years remained part of the Russian Imperial Theatres' repertoire. Well-received"
"George Bernard Shaw George Bernard Shaw (26 July 1856 – 2 November 1950), known at his insistence simply as Bernard Shaw, was an Irish playwright, critic, polemicist and political activist. His influence on Western theatre, culture and politics extended from the 1880s to his death and beyond. He wrote more than sixty plays, including major works such as ""Man and Superman"" (1902), ""Pygmalion"" (1912)"" and Saint Joan"" (1923). With a range incorporating both contemporary satire and historical allegory, Shaw became the leading dramatist of his generation, and in 1925 was awarded the Nobel Prize in Literature. Born in Dublin, Shaw"
"considered to be ancient India's greatest Sanskrit dramatist. Three famous romantic plays written by Kālidāsa are the ""Mālavikāgnimitram"" (""Mālavikā and Agnimitra""), ""Vikramuurvashiiya"" (""Pertaining to Vikrama and Urvashi""), and ""Abhijñānaśākuntala"" (""The Recognition of Shakuntala""). The last was inspired by a story in the ""Mahabharata"" and is the most famous. It was the first to be translated into English and German. ""Śakuntalā"" (in English translation) influenced Goethe's ""Faust"" (1808–1832). The next great Indian dramatist was Bhavabhuti (c. 7th century). He is said to have written the following three plays: ""Malati-Madhava"", ""Mahaviracharita"" and ""Uttar Ramacharita"". Among these three, the last two cover between"
"Who Is Sylvia? Who Is Sylvia? is a 1950 comedy play by the British writer Terence Rattigan about a man obsessed with the image of a woman he met as a seventeen year old and his search for her throughout the rest of his life. The play offered a thinly veiled portrayal of Rattigan's own philandering father. Like ""Perchance to Dream"", Ivor Novello's long-running musical terminating only two years previously, Rattigan chose a line from William Shakespeare for his title. The line is the first wistful question of a song passage in ""The Two Gentlemen of Verona"". The play opened"
"wrote in many genres. His plays expose a society dominated by greed, superstition and hypocrisy, demonstrating a deep concern for truth and justice. His plays, Chaos, Namus, Evil Spirit, and For the Sake of Honor are still widely performed. His masterful use of realism pervades the conflicting issues in the drama For the Sake of Honor. Soon after the Sundukian Theatre gained stature, many prominent actors from abroad, including those whose reputations had flourished in Western Armenia, went to Yerevan to join its repertory. They contributed to notable advances in its repertory, which included Armenian plays and translations of classical,"
"Svapnavasavadattam Svapnavasavadattam (, ) (English: The dream of Vasavadatta) is a Sanskrit play in six acts written by the ancient Indian poet Bhasa. It is probably the best known of Bhāsa's works. <br> The plot of the drama is drawn from the romantic narratives about the Vatsa king Udayana and Vasavadatta, the daughter of Pradyota, the ruler of Avanti, which were current in the poet's time and which seem to have captivated popular imagination. The main theme of the drama is the sorrow of Udayana for his queen Vasavadatta, believed by him to have perished in a fire, which was"
"(""vidusaka""). Actors may have specialised in a particular type. Kālidāsa is arguably considered to be India's greatest Sanskrit dramatist, writing in the ca. 4th century CE-ca. 5th century CE. Three famous romantic plays written by Kālidāsa are the ""Mālavikāgnimitram"" (""Mālavikā and Agnimitra""), ""Vikramuurvashiiya"" (""Pertaining to Vikrama and Urvashi""), and ""Abhijñānaśākuntala"" (""The Recognition of Shakuntala""). The last was inspired by a story in the ""Mahabharata"" and is the most famous. It was the first to be translated into English and German. ""Śakuntalā"" (in English translation) influenced Goethe's ""Faust"" (1808–1832). The next great Indian dramatist was Bhavabhuti (c. 7th century CE). He"
"Sheikh Sanan Sheikh Sanan (), is a verse play, tragedy in five acts, written by an Azerbaijani poet and playwright Huseyn Javid about love of a Muslim sheikh - Sanan to a Georgian-Christian girl Khumar. It is based on an old story first made famous by the Persian poet Attar Neyshapuri in The Conference of the Birds. As it was noted, a romantic riot against the anti-humanistic reality of religion is expressed in images of the main heroes of the play – Sanan and Khumar. Sanan, being a true believer Muslim and a notable scientist, dissuades from Islam and rejects"
"almost identical to the Romanticists of Europe, were interested in encouraging Armenian nationalism. Most of them adopted the newly created Eastern or Western variants of the Armenian language depending on the targeted audience, and preferred them over classical Armenian (grabar). The veritable creator of modern Armenian literature was Khachatur Abovian (1804–1848). Abovian was the first author to abandon the classical Armenian and adopt the modern for his works, thus ensuring their diffusion. Abovian's most famed work, ""Wounds of Armenia"", returns to the theme of the Armenian people's suffering under foreign domination. Abovian dedicated his life to writing and educating others"
"tendentious character was given to its popularity; for instance, in B.V.Chobanzade’s work he is referred to Ali Nazim’s citation about Huseyn Javid as “he was the one of rare talents in the whole Soviet Union”. It is also considered that critics directed to anti-humanistic nature of imperialism were sounded in the dram. It is noted that humanistic ideas of the author were realized in Iblis's image – an image of “evil”, the unmasker of human's betrayals and crimes. Huseyn Javid denies a well-known belief about that “the devil is the source of all human troubles” in his work. The poet"
"is known for his novels ""One Can Hear the Noise of the Forest"", about the 1905 Revolution, and ""Elnet"", about the life of a pre-revolutionary Mari village. A victim of the Great Purge during the ""struggle with bourgeois nationalism"", he was executed in Yoshkar-Ola on 11 November 1937 and was posthumously rehabilitated in 1956. The State prize of Mari El is named after Chavain. Sergei Chavain Sergei Chavain, also spelled Čavajn (Mari: Сергей Чавайн, pronounced ; 6 October 1888, Maly Karamas – 11 November 1937) was a Mari poet and playwright, born Sergei Grigorievich Grigoriev (). In 1905 he wrote"
"to be ancient India's greatest dramatist. Three famous romantic plays written by Kālidāsa are the ""Mālavikāgnimitram"" (""Mālavikā and Agnimitra""), ""Vikramōrvaśīyam"" (""Pertaining to Vikrama and Urvashi""), and ""Abhijñānaśākuntala"" (""The Recognition of Shakuntala""). The last was inspired by a story in the ""Mahabharata"" and is the most famous. It was the first to be translated into English and German. In comparison to Bhāsa, who drew heavily from the epics, Kālidāsa can be considered an original playwright. The next great Indian dramatist was Bhavabhuti (c. 7th century). He is said to have written the following three plays: ""Malati-Madhava"", ""Mahaviracharita"" and ""Uttar Ramacharita"". Among"
"His character comes to introduce the themes of socialism to the play, as well as serving to question the conventional views on marriage and social order. All together there are eight marriage proposals offered for consideration in the course of one summer afternoon. The question of whether any one of these combinations of marriage might be an auspicious alliance, or a misalliance, prompts one of the prospective husbands to utter the famous Shavian speculation: Part of Shaw's premise is in the irony that men spend so much energy courting a woman who will be obedient and subservient to them, when"
"who held the form in low regard, ""Why the devil should a man write like Scribe when he can write like Shakespeare or Moliere, Aristophanes or Euripides? Who was Scribe that he should dictate to me or anyone else how a play should be written?"" In reference to the form's tendency to favor amusing plot twists over complexly drawn characters, Shaw referred to the genre as Sardoodledom after Victorien Sardou, who also wrote in the well-made style. The opening to the preface to ""Three Plays by Brieux"" offers another example of Shavian disdain for the well-made plays. Shaw identifies the"
"Shakespeare's influence Shakespeare's influence extends from theatre and literature to present-day movies, Western philosophy, and the English language itself. William Shakespeare is widely regarded as the greatest writer in the history of the English language, and the world's pre-eminent dramatist. He transformed European theatre by expanding expectations about what could be accomplished through innovation in characterization, plot, language and genre. Shakespeare's writings have also impacted a large number of notable novelists and poets over the years, including Herman Melville Charles Dickens, and Maya Angelou, and continue to influence new authors even today. Shakespeare is the most quoted writer in the"
"Sanskrit dramatist. Three famous romantic plays written by Kālidāsa are the ""Mālavikāgnimitram"" (""Mālavikā and Agnimitra""), ""Vikramuurvashiiya"" (""Pertaining to Vikrama and Urvashi""), and ""Abhijñānaśākuntala"" (""The Recognition of Shakuntala""). The last was inspired by a story in the ""Mahabharata"" and is the most famous. It was the first to be translated into English and German. ""Śakuntalā"" (in English translation) influenced Goethe's ""Faust"" (1808–1832). The next great Indian dramatist was Bhavabhuti (c. 7th century CE). He is said to have written the following three plays: ""Malati-Madhava"", ""Mahaviracharita"" and ""Uttar Ramacharita"". Among these three, the last two cover between them the entire epic of"
"literary critic Ali Nazim, the main heroes of the drama – Arif, Vasif and Iblis – were different variations of pivotal image of Javid's creativity. It was also outlined that this is also the image of ""Turkish bourgeois intelligentsia of war-time and pre-revolutionary period, which is spiritually a dualist"", which is an embodiment of all socio-psychological and ideological-political reality of Javid's group of intelligents. Nazim writes that in play Javid “comes out in a mask of the Demon on one hand, and in form of Arif, - on the other.” Hamid Arasli noted that, the influence of the Turkish poet"
"Petros Adamian Tbilisi State Armenian Drama Theatre Petros Adamian Tbilisi State Armenian Drama Theatre ( ) was established in 1858 by the Armenian theatre activist Gevorg Chmshkyan. Armenian writer Gabriel Sundukyan was among the supporters of theatre. The first staging was ""Haji Suleyman"". From 1922 to 1936 the theatre's name was ""Artistic theatre"". In 1936 a new theatre building was finished which was named after Bolshevik Stepan Shahumian. The first performance was Mkrtich (Nikita) Djanan's performance ""Shahname"". Petros Adamian, Siranoush, Vahram Papazian, Hovhannes Abelian, Olga Maysourian, Isaac Alikhanian, Mariam Mojorian, Artem and Maria Beroians, Babken Nersesian, directors: Arshak Bourdjalian, Leon"
"in the St. Nicholas Russian hospital of Constantinople. Siranush, Hovhannes Abelian, Vahram Papazian, and other Armenian actors continued Adamian's theatrical tradition. The Armenian Drama Theatre of Tbilisi is named after Adamian. Petros Adamian Petros Heronimosi Adamian (, December 21, 1849, Istanbul – June 3, 1891, Istanbul, Ottoman Empire) was an outstanding Armenian actor, poet, writer, artist and public figure. According to Russian critics, his interpretations of Hamlet and Othello put Adamian's name among the best tragedians of the world. Adamian's mother died when he was one and a half years old. He started his artistic career at the age of"
"had noted in ""Note for Technicians"" are added. ""Pygmalion"" remains Shaw's most popular play. The play's widest audiences know it as the inspiration for the highly romanticized 1956 [[My Fair Lady|musical]] and 1964 film [[My Fair Lady (film)|""My Fair Lady""]]. ""Pygmalion"" has transcended cultural and language barriers since its first production. The British Museum contains ""images of the Polish production...; a series of shots of a wonderfully Gallicised Higgins and Eliza in the first French production in Paris in 1923; a fascinating set for a Russian production of the 1930s. There was no country which didn't have its own 'take'"
"He recalls the recital by himself, when a boy, of the famous opening of the second act. Cheever then compares old Norval, who only sought to increase his flock and selfishly kept Douglas at home to do it, with those modern merchants who try to keep down anti-slavery agitation because it is bad for business (Cheever was well known in his time, and was listed by Edgar Allan Poe as one of the ""Literati of New York City"" in his famous 1846 series of articles of that name). Hugh MacDiarmid, the twentieth century pioneer of the Scottish Renaissance, included the"
"Michel-Joseph Gentil de Chavagnac Michel-Joseph Gentil de Chavagnac, full name Adolphe Michel Joseph Gentil de Chavagnac, (Paris, 3 July 1770 – Passy, 27 May 1846) was a 19th-century French chansonnier and playwright. After a career in the army, he became known in theater as Marc-Antoine Madeleine Désaugiers's collaborator with whom he published more than thirty plays. Managing director of the Théâtre de l'Odéon in 1821-1822, he also was Private Secretary to the Director of Water and Forests (1822), a founding member of the , and honorary reader of the King (Charles X) from 1823 to 1830. His plays, often circumstantial,"
"roles. He considers it the most ""fully realized"" example of Shaw's conception of comic form. The Six of Calais The Six of Calais is a one-act play by George Bernard Shaw. It was inspired by Auguste Rodin's sculpture ""The Burghers of Calais"". It is a historical comedy about the conflict between Edward III of England and his wife Philippa of Hainault over his plans to punish the leading citizens of Calais for resisting the 1346 siege. Shaw had had a long friendship with the sculptor Auguste Rodin, who had made a portrait bust of the playwright, and had long admired"
"in which he assessed more than 212 productions. He championed Ibsen's plays when many theatregoers regarded them as outrageous, and his 1891 book ""Quintessence of Ibsenism"" remained a classic throughout the twentieth century. Of contemporary dramatists writing for the West End stage he rated Oscar Wilde above the rest: ""... our only thorough playwright. He plays with everything: with wit, with philosophy, with drama, with actors and audience, with the whole theatre"". Shaw's collected criticisms were published as ""Our Theatres in the Nineties"" in 1932. Shaw maintained a provocative and frequently self-contradictory attitude to Shakespeare (whose name he insisted on"
"from the householder to the servant-girl who could not understand the works of the later Yiddish writers. Jacob Adler later wrote of his melodramas that ""Nothing so crude as this can be found in Goldfaden... [but] the humor in Sheikevitch is more believable."" Nahum Meir Schaikewitz Nahum Meïr Schaikewitz, also known by his pseudonym ""Shomer"" (December 18, 1849 in Nesvizh, Belarus – 25 November 1905 in New York City) was a Yiddish novelist and playwright. Although he was very popular in his time and a giant in Yiddish literature, sometimes styled the ""Dumas of Yiddish literature"", he was significantly damaged"