"Tally-ho, in his 1893 play A Woman of No Importance, what activity did Oscar Wilde call ""the unspeakable in pursuit of the uneatable""?"
"Tally-ho Tally-ho is a very old traditional cry made by the huntsman to tell others the quarry has been sighted. It may also be used with directions, including ""away"" and ""back"". First used in fox-hunting, it was adapted in the 19th century to describe some horse-drawn vehicles and in the 20th century to advise of enemy aircraft and space junk. Tally-ho dates from around 1772, and is probably derived from the French ""taïaut"", a cry used to excite hounds when hunting deer. Taïaut may have originated in the second half of the 13th century by the concatenation of a two-word"
"A Woman of No Importance A Woman of No Importance is a play by Irish playwright Oscar Wilde. The play premièred on 19 April 1893 at London's Haymarket Theatre. Like Wilde's other society plays, it satirizes English upper-class society. It has been performed on stages in Europe and North America since his death in 1900. The play is set in ""The Present"" (i.e. 1893). The play opens with a party on a terrace in Lady Hunstanton's estate. The upper class guests spend the better part of Act I exchanging social gossip and small talk. Lady Caroline Pontrefact patronizes an American"
"Jarvis. A Woman of No Importance A Woman of No Importance is a play by Irish playwright Oscar Wilde. The play premièred on 19 April 1893 at London's Haymarket Theatre. Like Wilde's other society plays, it satirizes English upper-class society. It has been performed on stages in Europe and North America since his death in 1900. The play is set in ""The Present"" (i.e. 1893). The play opens with a party on a terrace in Lady Hunstanton's estate. The upper class guests spend the better part of Act I exchanging social gossip and small talk. Lady Caroline Pontrefact patronizes an"
"Times"" commented, ""The story is almost too preposterous to go without music."" Mary McCarthy, in ""Sights and Spectacles"" (1959), however, and despite thinking the play extremely funny, called it ""a ferocious idyll""; ""depravity is the hero and the only character."" ""The Importance of Being Earnest"" is Wilde's most popular work and is continually revived. Max Beerbohm called the play Wilde's ""finest, most undeniably his own"", saying that in his other comedies—""Lady Windermere's Fan"", ""A Woman of No Importance"" and ""An Ideal Husband""—the plot, following the manner of Victorien Sardou, is unrelated to the theme of the work, while in ""Earnest"""
"in its beginning, deliberate and interested falsehood."" The reputation of the imprint in informed circles was well established by 1893 when Oscar Wilde in the play ""A Woman of No Importance"" wrote: ""You should study the Peerage, Gerald. It is the one book a young man about town should know thoroughly, and it is the best thing in fiction the English have ever done!"" Such barbs had little effect for, writing in 1901, the historian J. Horace Round aimed many blows at the ""old fables"" and ""grotesquely impossible tales"" still being perpetuated by Burke's. Burke's Peerage Burke's Peerage Limited is"
"plays probably represent his most enduring legacy. Wilde's first stage success came with ""Lady Windermere's Fan"" (1892), which resulted in his becoming the most talked about dramatist in London. He followed this up with ""A Woman of No Importance"" (1893), ""An Ideal Husband"" (1895) and his most famous play ""The Importance of Being Earnest"" that same year. With these plays, Wilde came to dominate late-Victorian era British theatre. His plays are noted for the lightness of their wit, but he also contrived to address some serious issues around sexual and class roles and identity, as he wrote himself 'treating the"
"The Importance of Being Earnest The Importance of Being Earnest, A Trivial Comedy for Serious People is a play by Oscar Wilde. First performed on 14 February 1895 at the St James's Theatre in London, it is a farcical comedy in which the protagonists maintain fictitious personæ to escape burdensome social obligations. Working within the social conventions of late Victorian London, the play's major themes are the triviality with which it treats institutions as serious as marriage, and the resulting satire of Victorian ways. Some contemporary reviews praised the play's humour and the culmination of Wilde's artistic career, while others"
"(2002) incorporated some of Wilde's original material cut during the preparation of the original stage production. After the success of Wilde's plays ""Lady Windermere's Fan"" and ""A Woman of No Importance"", Wilde's producers urged him to write further plays. In July 1894, he mooted his idea for ""The Importance of Being Earnest"" to George Alexander, the actor-manager of the St James's Theatre. Wilde spent the summer with his family at Worthing, where he wrote the play quickly in August. His fame now at its peak, he used the working title ""Lady Lancing"" to avoid preemptive speculation of its content. Many"
"Husband and The Importance of Being Earnest, both filled with wit and brilliant paradoxes, appeared in 1895. They were the last things that Oscar Wilde was to write, before he developed meningitis, and suffered his untimely death.”(Oscar Wilde 951). Other plays include Vera; or, The Nihilists (1880), The Duchess of Padua (1883), A Florentine Tragedy (La Sainte Courtisane 1893). Wilde's work has inspired many other fellow writers. His work has been translated into many languages, and has been on the stage over and over again. Other important writers include John Millington Synge, whose plays include Riders to the Sea and"
"in favour of a more nuanced view. The play was enormously popular, touring the country for months, but largely trashed by conservative critics. It was followed by ""A Woman of No Importance"" in 1893, another Victorian comedy, revolving around the spectre of illegitimate births, mistaken identities and late revelations. Wilde was commissioned to write two more plays and ""An Ideal Husband"", written in 1894, followed in January 1895. Peter Raby said these essentially English plays were well-pitched, ""Wilde, with one eye on the dramatic genius of Ibsen, and the other on the commercial competition in London's West End, targeted his"
"Gwladys Robinson, Marchioness of Ripon Constance Gwladys Robinson, Marchioness of Ripon (22 April 1859 – 28 October 1917), was a British patron of the arts. She was a close friend of Oscar Wilde, who dedicated his play A Woman of No Importance to her; other celebrated friends included Nellie Melba, whose success in London was largely due to Lady Ripon's support, Nijinsky and Diaghilev. Lady Ripon was born in 1859 to Sidney Herbert, 1st Baron Herbert of Lea and his wife, Elizabeth, a writer and notable convert to Catholicism. Lady Ripon married St George Lowther, 4th Earl of Lonsdale, and"
"a series of paintings ""The Dance of Salome"" (1988) by ""Nabil Kanso"". Spanish painter Gino Rubert created a series of pictures in 2005. ""Salomé"" is a track by Pete Doherty on his 2009 album ""Grace/Wastelands"", which shares several lyrical references to Wilde's work. Throughout the 1994 movie ""A Man of No Importance"" and its 2002 musical adaption, the main character, Alfie, tries to produce a production of ""Salomé"" in his local church, and the play is often quoted and referenced. Andrew Lloyd Webber's 1993 musical ""Sunset Boulevard"" features a song in Act I entitled ""Salomé"". The song highlights Salomé's infatuation"
"it was ""an undeniably clever piece of work; and even though it has its weaknesses, it reflects credit on its author. ... It is emphatically a play to see."" Oscar, believing that he recognised his brother's hand behind the anonymous review, was by then writing ""A Woman of No Importance"", in which one character says: ""After a good dinner, one can forgive anybody, even one's own relations."" By now Willie Wilde was in serious financial difficulties and Oscar began giving him money, but bad feeling between the brothers heightened when Oscar discovered that Willie was pestering their mother for money"
"of words or, as Wilde had said of the language of Salomé, like the sound of a pearl that falls on a silver basin. Elaborate speech patterns that unfold a double meaning, an allegory."" Christopher S. Nassaar described the play as ""a minor ""jeux d’esprit"""", and places it in context as a ""bridge"" between ""Salome"" and ""The Importance of Being Earnest"". Rudolf Wagner-Régeny set the fragments to music in 1930 for 4 speakers and chamber orchestra. La Sainte Courtisane La Sainte Courtisane (, French for ""The Holy Courtesan"") is an unfinished play by Oscar Wilde written in 1894. The original"
"a line stating ""England lies like a leper in purple"" — which was later removed. The Prince of Wales attended the second performance and told Wilde not to alter a single line. The play was also performed in New York and was due to go on tour when Wilde was arrested and charged with indecency and sodomy following his feud with the Marquess of Queensberry over the Marquess' son, Lord Alfred Douglas. The tour was cancelled. ""A Woman of No Importance"" has been described as the ""weakest of the plays Wilde wrote in the Nineties"". Many critics note that much"
"actor had contributed to the Ibsen revival but was aware that Waller could overcome neither the plays' inadequate rehearsal period nor his background of florid West End performances."" In October 1893 Waller returned to management, mounting a tour of Wilde's ""A Woman of No Importance"", in which he played Lord Illingworth. ""The Manchester Guardian"" called it ""a tolerable travelling company in which nobody gains great distinction."" Returning to London, Waller, in partnership with H. H. Morrell, leased the Theatre Royal, Haymarket while its regular tenant, Herbert Beerbohm Tree was on tour in the US. He began with the premiere of"
"set up for a unified realism in stage presentation.”(The Theatre 31)audiences would be sectioned off,lower class in the front,upper class in the back and middle class in the middle Oscar Wilde is one of the most prominent playwrights of the Victorian era. “Wilde’s easy wit insured an immediate success for the brilliant series of dramas that he wrote in the early nineties. In early 1892 Lady Windermere's Fan appeared at the St James' Theatre and was at once popular. The same year Wilde also wrote Salome. It was followed the next year by A Woman of No Importance. An Ideal"
"a theatre company presenting a season of Oscar Wilde plays at The Vaudeville Theatre, where Dromgoole will direct ""A Woman of No Importance"" in 2017. In 2000, his book ""The Full Room: An A-Z of Contemporary Playwriting"" provided a personal survey of contemporary British playwriting. In 2006, ""Will and Me: How Shakespeare Took Over My Life"" charted his fascination with William Shakespeare, and won the inaugural Sheridan Morley award. Dromgoole has also contributed to ""The New Statesman"", ""The Sunday Times"" and other publications. In 2017 his book ""Hamlet Globe to Globe"", recounted experiences from the global tour of ""Hamlet"". Dominic"
"exclusively dedicated to the writing, research and teaching of dramatic art: Dramaturgy and interpretation. Many of his theatrical texts have been staged or published in different editorials. He has been awarded on several occasions, highlighting the award of the Sociedad General de Autores y Editores to his work ""Invierno"" (Winter) belonging to the ""Tetralogy of the Four Seasons"". He has directed Oscar Wilde's ""A Woman Without Importance""', Marc-Gilbert Sauvajon's ""Le Canard à l'orange"" based on William Douglas Home's ""The Secretary Bird"", Brandon Thomas's ""Charley's Aunt"", Chazz Palmintieri's ""Faithful"",etc. He teaches dramatic writing and dramaturgy at the Royal School of Dramatic"
"imprisonment. Despite the play’s early success, Wilde’s notoriety caused the play to be closed after 86 performances. After his release from prison, he published the play from exile in Paris, but he wrote no further comic or dramatic work. ""The Importance of Being Earnest"" has been revived many times since its premiere. It has been adapted for the cinema on three occasions. In ""The Importance of Being Earnest"" (1952), Dame Edith Evans reprised her celebrated interpretation of Lady Bracknell; ""The Importance of Being Earnest"" (1992) by Kurt Baker used an all-black cast; and Oliver Parker's ""The Importance of Being Earnest"""
"and producing books based on the researches of her late husband into Irish folklore. Lady Wilde contracted bronchitis in January 1896 and, dying, asked for permission to see Oscar, who was in prison. Her request was refused. It was claimed that her ""fetch"" (i.e. her apparition) appeared in Oscar's prison cell as she died at her home, 146 Oakley Street, Chelsea, on 3 February 1896. Willie Wilde, her older son, was penniless, so Oscar paid for her funeral, which was held on 5 February at Kensal Green Cemetery in London. A headstone proved too expensive and she was buried anonymously"
"wrote that he had enjoyed watching the play but found it to be empty of meaning: ""What can a poor critic do with a play which raises no principle, whether of art or morals, creates its own canons and conventions, and is nothing but an absolutely wilful expression of an irrepressibly witty personality?"" In ""The Speaker"", A. B. Walkley admired the play and was one of few to see it as the culmination of Wilde's dramatic career. He denied the term ""farce"" was derogatory, or even lacking in seriousness, and said ""It is of nonsense all compact, and better nonsense,"
"99-seat auditorium in a downtown palace with a production of Jerome Kilty's ""Dear Liar"", starring Brinkmann and Anthony Steel, directed by Franz Schafranek. For the first ten years before Vienna's English Theatre acquired its permanent home, she played the female lead in every production except two. Among them were multiple roles in ""The World of Carl Sandburg"" and Edgar Lee Masters' ""Spoon River Anthology"", as well as the four ladies in Thornton Wilder's ""Queens of France"". She also played the Lady in Shaw's ""Man of Destiny"", Doris in ""The Owl and the Pussycat"", Miss Prism in Oscar Wilde's ""The Importance"
"Wilde's quotation: """"A fashion is merely a form of ugliness so absolutely unbearable that we have to alter it every six months!"""" The Philosophy of Dress ""The Philosophy of Dress"" is an essay by Oscar Wilde that appeared in ""The New-York Tribune"" in 1885. The essay remained unknown to scholarship until 2012 when it was rediscovered and published for the first time in book form by Wilde historian John Cooper in ""Oscar Wilde On Dress"" (CSM Press, 2013), making it the only previously unknown work that Wilde intended for publication to have been released since he died in 1900. The"
"La Sainte Courtisane La Sainte Courtisane (, French for ""The Holy Courtesan"") is an unfinished play by Oscar Wilde written in 1894. The original draft was left in a taxi cab by the author, and was never completed. It was first published in 1908 by Wilde's literary executor, Robert Ross. It has never been performed, and has been little studied. The play is incomplete. The plot of the existing segment is as follows: Myrrhina is an Alexandrian noblewoman who travels to the mountains to tempt Honorius, a Christian hermit, away from goodness with her beauty and wealth. After they talk,"
"that Punchinello used for props, costumes, sets, the green room and dressing rooms. Punchinello mainly performed traditional classics as well as some musicals, and the occasional newer work. Among the rare melodrama/related productions were ""Kind Lady"" by Edward Chodorov, in 1942. and ""Dracula"" (from the novel by Bram Stoker) in 1969. Comedies have included ""The Importance of Being Earnest"" by Oscar Wilde in 1973 and ""Hay Fever"" by Noël Coward in 1978. Punchinello produced the metatheatrical play Our Town by Thornton Wilder in 1969. Punchinello often explored social issues, with sell-out productions such as ""The Crucible"" by Arthur Miller and"
"Incident of the Dog in the Night-Time"", which is dedicated to her. Sos Eltis Sos Eltis is Fellow and Tutor in English at Brasenose College, Oxford. She is a nineteenth- and twentieth-century specialist, with a special interest in theatre. she is also Vice-Principal of the College. Eltis is the author of ""Revising Wilde: Society and Subversion in the plays of Oscar Wilde"", which has been described as ""a radical re-examination of the plays of Oscar Wilde"", and of ""Acts of Desire: Women and Sex on Stage 1800-1930"". Eltis is a keen oarswoman, is a vegetarian and has two sons. Eltis"
"Since the departure of the Bancrofts in 1885, that theatre's reputation had suffered. Tree restored it during his tenure. He produced and appeared on stage in some thirty plays during the following decade. While popular farces and melodramas like ""Trilby"" anchored the repertoire (the production ran for an extraordinary 260 performances), Tree also encouraged the new drama, staging Maeterlinck's ""The Intruder"" (1890), Ibsen's ""An Enemy of the People"" (1893) and Wilde's ""A Woman of No Importance"" (1893), among others. He supported new playwrights by producing special ""Monday night"" performances of their new plays. Tree also mounted critically acclaimed productions of"
"is an outlawed word. In this society, there is no such thing as a sterile man. In this culture, women are either fruitful or barren, the latter of which are declared to be ""unwomen"" and are sent to the colonies with the rest of the ""unwomen"" to do life-threatening work until their death, which is, on average, three years. Atwood emphasises how changes in context affect behaviours and attitudes by repeating the phrase ""Context is all"" throughout the novel, establishing this precept as a motif. Playing the game of Scrabble with her Commander illustrates the key significance of changes in"
"successes. The auditorium was reconstructed, and the stage enclosed in a complete picture frame proscenium, the first in London. The abolition of the pit by the introduction of stalls seating divided by plain iron arms caused a small riot. Herbert Beerbohm Tree transferred from the Comedy Theatre with ""The Red Lamp"" in 1887. He took over upon the retirement of the Bancrofts and installed electric light in the theatre. Under Tree's management, Oscar Wilde premiered his first comedy ""A Woman of No Importance"" in April 1893. In January 1895 Wilde's ""An Ideal Husband"" was first performed. Tree's next notable hit"
"pleasure and beauty would replace utilitarian ethics. Wilde and aestheticism were both mercilessly caricatured and criticised in the press; the ""Springfield Republican"", for instance, commented on Wilde's behaviour during his visit to Boston to lecture on aestheticism, suggesting that Wilde's conduct was more a bid for notoriety rather than devotion to beauty and the aesthetic. T. W. Higginson, a cleric and abolitionist, wrote in ""Unmanly Manhood"" of his general concern that Wilde, ""whose only distinction is that he has written a thin volume of very mediocre verse"", would improperly influence the behaviour of men and women. According to biographer Michèle"
"comedy of humours, made fun of affected wit and acquired follies of the time. The masterpieces of the genre were the plays of William Wycherley (""The Country Wife"", 1675) and William Congreve (""The Way of the World"", 1700). In the late 18th century Oliver Goldsmith (""She Stoops to Conquer"", 1773) and Richard Brinsley Sheridan (""The Rivals"", 1775; ""The School for Scandal"", 1777) revived the form. The tradition of elaborate, artificial plotting and epigrammatic dialogue was carried on by the Irish playwright Oscar Wilde in ""Lady Windermere's Fan"" (1892) and ""The Importance of Being Earnest"" (1895). In the 20th century, the"
"by Oscar Wilde's ""The Importance of Being Earnest"". O'Mealy finds echoes of Wilde's Lady Bracknell and Gwendolen in Lady Rumpers and Felicity, and of Wilde's linguistic absurdities in some of Bennett's dialogue. He identifies Joe Orton's 1969 farce ""What the Butler Saw"" as another influence. Although the play is farcical for most of its length, the ending is equivocal, and some have seen Wicksteed's solitary, spotlit dance as a dance of death. Billington emphasises the farcical side of the piece, whereas the critic Ronald Bergan views it as ""rather more a wake than a celebration"". Habeas Corpus (play) Habeas Corpus"