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John Osborne

In 1956 John Osborne's Look Back in Anger changed the course of English theatre. 'Look Back in Anger presents post-war youth as it really is. To have done this at all would be a significant achievement; to have done it in a first play is a minor miracle. All the qualities are there, qualities one had despaired of ever seeing on stage - the drift towards anarchy, the instinctive leftishness, the automatic rejection of "official" attitudes, the surrealist sense of humour . . . the casual promiscuity, the sense of lacking a crusade worth fighting for and, underlying all these, the determination that no one who dies shall go unmourned.' Kenneth Tynan, Observer, 13 May 1956 'Look Back in Anger . . . has its inarguable importance as the beginning of a revolution in the British theatre, and as the central and most immediately influential expression of the mood of its time, the mood of the "angry young man".' John Russell Taylor

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John Osborne

Jimmy Porter plays trumpet badly. He browbeats his flatmate, terrorizes his wife, and is not above sleeping with her best friend-who loathes Jimmy almost as much as he loathes himself. Yet this working-class Hamlet, the original Angry Young Man, is one of the most mesmerizing characters ever to burst onto a stage, a malevolently vital, volcanically articulate internal exile in the dreary, dreaming Siberia of postwar England. First produced in 1956, Look Back in Anger launched a revolution in the English theater. Savagely, sadly, and always impolitely, it compels readers and audiences to acknowledge the hidden currents of rottenness and rage in what used to be called "the good life." Book jacket.

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Caroline Hughes Myers

Don’t Look Back in Anger- Synopsis Preserved in it’s original diary form, Don’t Look Back in Anger is one woman’s true account of her experience as a human shield in Saddam Hussein’s desperate attempt’s to avoid a military response to his invasion of Kuwait in 1990. After a number of agonisingly tense days waiting in the hotel where Chris worked, first Chris and then Caroline were seized by the Iraqi forces and brought at gunpoint to Iraq, where they would spend the next few months being shuffled between military and chemical installations. Conditions were appalling, and all the hostages, who were from many different Western countries, suffered not just physically but also mentally as they were exposed to filth, disease, uncertainty and the daily fear of imminent execution. Years later, when hostilities returned to the Arab Gulf, where Caroline has made her home, the fear, and painful memories of that dreadful time returned to haunt her, and prompted her to revisit her diaries and present them in a book format: Don’t Look Back in Anger.

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Aleks Sierz

Look Back in Anger is one of the few works of drama that are indisputably central to British culture in general, and its name is one of the most well-known in postwar cultural history. Its premiere in 1956 sparked off the first "new wave" of kitchen-sink drama and the cultural phenomenon of the angry young man. The play's anti-hero, Jimmy Porter, became the spokesman of a generation. Osborne's play is a key milestone in "new writing" for British theatre, and the Royal Court-which produced the play-has since become one of the most important new writing theatres in the UK.

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Gale, Cengage Learning

A Study Guide for John Osborne's "Look Back in Anger," excerpted from Gale's acclaimed Drama For Students. This concise study guide includes plot summary; character analysis; author biography; study questions; historical context; suggestions for further reading; and much more. For any literature project, trust Drama For Students for all of your research needs.

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Chuck Klosterman

Originally collected in Chuck Klosterman IV and now available both as a stand-alone essay and in the ebook collection Chuck Klosterman on Film and Television, this essay is about The Wonder Years.

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Aleks Sierz

Look Back in Anger is one of the few works of drama that are indisputably central to British culture in general, and its name is one of the most well-known in postwar cultural history. Its premiere in 1956 sparked off the first "new wave" of kitchen-sink drama and the cultural phenomenon of the angry young man. The play's anti-hero, Jimmy Porter, became the spokesman of a generation. Osborne's play is a key milestone in "new writing" for British theatre, and the Royal Court-which produced the play-has since become one of the most important new writing theatres in the UK.

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John Osborne

This is the first of three volumes of John Osborne's plays and includes the title play, Dejavu - which returns to the character of Jimmy Porter 35 years on - as well as The World of Paul Slickey and Epitaph for George Dillon."

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Raja Sharma

Osborne and the playwrights like him were just opposite to the more escapist theater of the earlier generation. It is often argued that “Look Back In Anger” is an autobiographical play that is based on the playwright’s unhappy marriage to film actress Pamela Lane. The author and his wife had their cramped life in their small house in Derby. It is said that Osborne wanted to pursue his career in drama and theatre but his wife was more materialistic. She never took her husband seriously and even cuckolded him with a dentist in the area. Ready Reference Treatise: Look Back In Anger Copyright Chapter One: Introduction Chapter Two: Plot Overview Act One Act Two Act Three Chapter Three: Characters Chapter Four: Compete Summary Act One Act Two Act Three Chapter Five: Critical Analysis

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Ulrike Häßler

Studienarbeit aus dem Jahr 2005 im Fachbereich Anglistik - Literatur, Note: 2.0, Universität Leipzig, 13 Quellen im Literaturverzeichnis, Sprache: Deutsch, Abstract: Am 8. Mai 1956 wurde in London ein neues Theaterstück aufgeführt, das die englische Theaterlandschaft grundlegend verändern sollte. Es wurde von einer Bühnenrevolution gesprochen, von einer Bombe, die schliesslich explodierte und auf die eine ganze Generation geradezu sehnsüchtig gewartet hatte. Look Back in Anger von John Osborne wurde als Meilenstein gesehen in der Entwicklung des englischen Nachkriegstheaters und hat bis heute nicht wesentlich an Bedeutung eingebüßt. Das wichtigste Kennzeichen des Stückes wird sofort in der ersten Szene des Werkes deutlich. Hier wird eine Emotion in Szene gesetzt, die dem Ausdruck einer gesamten Generation in England entsprach und die bis zu diesem Zeitpunkt nur wenig Raum auf der Bühne gefunden hatte. John Osborne gab dem Zorn einen dramatischen Ausdruck und benutzte die Stärke dieser Emotion um seine Intention deutlich zu machen. Zum ersten Mal standen Gefühle im Mittelpunkt im Royal Court Theatre am 8. Mai 1956. Gefühle, die nicht unbedingt als angenehm empfunden wurden, sondern vielmehr als schockierend und demaskierend. Die extreme Stärke der Emotion des Zorns wird hierbei als ein Mittel gesehen, um nicht nur die Wut, Enttäuschung und Abscheu gegenüber einem Teil der Gesellschaft deutlich zu machen, sondern vielmehr um den Zuschauer das Gefühl als solches wieder näherzubringen. Osborne versucht somit den Zuschauer zu bewegen seine Einstellung gegenüber der Emotion zu verändern und diese wieder verstärkt zuzulassen. Der Schriftsteller sieht nur im Zorn noch das Mittel dies zu erreichen. Diese Einstellung Osbornes erhellt gleichermaßen die Kritik an der gegenwärtigen Gesellschaft, die zunehmend von Konsum, Anonymität und Korruption gekennzeichnet ist. Im folgenden soll auf die Ursachen des Zorns und die mit der Utilisation der Emotion des Zorns verbundene Intention Osbornes eingegangen werden. Das Gewicht liegt folglich nicht auf einer detaillierten Auseinandersetzung mit dem Text, sondern vielmehr auf der Darstellung des Zorns im Zusammenhang mit den äußeren gesellschaftlichen Umständen.

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Konstantin Seitz

Seminar paper from the year 2007 in the subject English Language and Literature Studies - Literature, grade: 14 Punkte, University of Marburg (Institut für Anglistik/Amerikanistik), course: HS British Drama: From the 1950ies to the present, 10 entries in the bibliography, language: English, abstract: In John Osborne’s last play Déjà Vu (1991) the protagonist J.P., who appeared as young Jimmy in Look Back in Anger (1956) as the prototypical ‘angry young man’, seems to have changed. J.P. has a son and a daughter (who live with their mother, his third ex-wife), and ‘enjoys’ life in a 15-room-flat with his papers, pipe and his pal Cliff as a visitor every now and then. Having come to some wealth enables him to drink champagne, but he has nontheless not come to friendly terms with the world outside. As proposed by Peinert and various others, the animal imagery -i.e. the ‘bear and squirrel’ game- is a central key element to the understanding of Look Back in Anger as a whole and particularly with regard to the figures of Alison and Jimmy. How can this theory be applied to the figure of Teddy in Déjà Vu, where the tattered teddy bear seems to have risen from being a toy on a chest of drawers to a full member of the family with his own views and qualities. The aim of this paper is to have a close look at the figures of ‘bear’ and ‘squirrel’ in Look back in Anger and of ‘Teddy’ in Déjà Vu and to compare the ‘bear’ and ‘Teddy’figures with regard to the following questions: How is the bear metaphor used in Look back in Anger and to what extent does it match Jimmy’s being? What role does the teddy bear figure play in relation to the different protagonists in the two plays? And is there a development from bear to Teddy similar to the development from Jimmy to J.P. in the two plays?

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Philip Pettican

An amazing and heart rending story." - On the Grapevine DescriptionCleverly written with a dramatic twist in the end, this is a chilling and excellently written story about the realities that living with schizophrenia brings. Phil travels to America where his alcoholism and erratic behaviour make life seem very odd. Upon realisation that he has schizophrenia Phil feels an urge to psychoanalyse himself. Written with lucidity, pathos and realism, this book shows the realities of living with mental ill health and the humiliation that sufferers have to deal with. About the AuthorPhillip Pettican was born in May 1957 in Chelmsford Essex. He joined the Royal Navy in 1974. After serving for 10 months he left to live with his mother and stepfather in Scotland, and subsequently moved with them to Surrey. He remained in Surrey until 1987 and after a brief spell abroad, returned to Norwich where he lives to this day. Phil is now active in the UK survivor movement.

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Christopher Hutton,Richard Kurt

Chris Hutton is to Oasis what Pete Best was to the Beatles - the one who was ousted from the band just before they achieved fame and glory. Chris Hutton and Richard Kurt now tell the whole story of Oasis from a unique perspective. It is one that the Oasis PR machine would like to forget, chronicling their years of growing up in Burnage, their early musical development, the eventual breakthrough, and the brutal expulsion of Hutton from the band. Now, from one of the biggest bands since the Beatles comes the true story of the talent and raw ambition which drove Oasis into the spotlight, leaving behind one of their earliest members.

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Carl H. Spiers

As an 8 year old boy Carl Spiers witnessed his first football hooliganism at Stockport in 1969. It was a seminal moment in his life and sparked an obsession with violence. For the next 15 years he progressed from onlooker to teenage boot boy to gang leader and eventually became one of Oldham's top 'lads' in the late 70's/early 1980's. This roller-coaster ride took him up and down the country clashing with over sixty rival teams from all four divisions. Along the way Carl suffered many injuries including being stabbed in the chest and inner thigh, having his nose, cheekbones, arm, wrists, fingers and skull broken and his teeth knocked out. He eventually saw the futility of all this mindless violence and by his early twenties he settled down. Nevertheless his experiences stood him in good stead as he went on to become widely recognised as an expert on football hooliganism and wider British youth culture.

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Andy Evans

30 East Drive Chequerfield, Pontefract, West Yorkshire. Scene of the most violent Poltergeist activity ever recorded in Europe during the late 1960's and early 1970's. Join me in my quest to uncover finally the truth behind this famous haunting. With over 50 overnight stays inside the house I offer out my findings as to what actually resides now within the empty walls. Was the spirit of 'The Black Monk' still prevalent within the house? Forty years on the stories continue. Don't Look Back in Anger takes the reader on a roller-coaster ride into a world of paranormal activity which remains today. Enjoy the read, enjoy the journey and enjoy the time I spent at 30 East Drive

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John Breeding, PH. D.

A story of the realities that the diagnosis of Schizophrenia brings. The more people that are brave enough to step forward the more we can promote a positive image of mental health. Only then, the author believes, will the media and society accept Schizophrenics as human beings.