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While writers, dramatists and film-makers have already found inspiration in Orton's colourful life story, this Casebook comprises the first collection of scholarly criticism to investigate the works, life and legacy of the controversial playwright.
DIVThis mesmerizing story of playwright and author Joe Orton’s brief and remarkable life was named book of the year by Truman Capote and Nobel Prize–winning novelist Patrick White /divDIV Told with precision and extensive detail, Prick Up Your Ears is the engrossing biography of playwright and novelist Joe Orton. Orton’s public career spanned only three years (1964–1967), but his work made a lasting mark on the international stage. From Entertaining Mr. Sloane to his career-making Loot, Orton’s plays often shocked, sometimes outraged, and always captivated audiences with their dark yet farcical cynicism. A rising star and undeniable talent, Orton left much undone when he was bludgeoned to death by his lover, Kenneth Halliwell, who had educated Orton and also dreamed of becoming a famous writer. /divDIV /divDIVPrick Up Your Ears was the basis for the distinguished 1987 film of the same name, directed by Stephen Frears, with a screenplay by Alan Bennett, and starring Gary Oldman and Vanessa Redgrave. A brilliant, page-turning examination of the dueling forces behind Orton’s work, Prick Up Your Ears secured the playwright’s reputation as a great twentieth-century artist./div
”To be young, good-looking, healthy, famous, comparatively rich and happy is surely going against nature.” When Joe Orton (1933–1967) wrote those words in his diary in May 1967, he was being hailed as the greatest comic playwright since Oscar Wilde for his darkly hilarious Entertaining Mr. Sloane and the farce hit Loot, and was completing What the Butler Saw; but less than three months later, his longtime companion, Kenneth Halliwell, smashed in Orton's skull with a hammer before killing himself. The Orton Diaries, written during his last eight months, chronicle in a remarkably candid style his outrageously unfettered life: his literary success, capped by an Evening Standard Award and overtures from the Beatles; his sexual escapades—at his mother's funeral, with a dwarf in Brighton, and, extensively, in Tangiers; and the breakdown of his sixteen-year "marriage" to Halliwell, the relationship that transformed and destroyed him. Edited with a superb introduction by John Lahr, The Orton Diaries is his crowning achievement.
A black farce masterpiece, Loot follows the fortunes of two young thieves, Hal and Dennis. Dennis is a hearse driver for an undertaker. They have robbed the bank next door to the funeral parlour and have returned to Hal's home to hide-out with the loot. Hal's mother has just died and the pair put the money in her coffin, hiding the body elsewhere in the house. With the arrival of Inspector Truscott, the thickened plot turns topsy-turvy. Playing with all the conventions of popular farce, Orton creates a world gone mad and examines in detail English attitudes at mid-century. The play has been called a Freudian nightmare, which sports with superstitions about death - and life. It is regularly produced in professional and amateur productions. First produced in London in 1966, Loot was hailed as "the most genuinely quick-witted, pungent and sprightly entertainment by a new, young British playwright for a decade" (Sunday Telegraph). The Student Edition offers a plot summary, full commentary, character notes and questions for study, besides a chronology and bibliography.
The diary is a genre that is often thought of as virtually formless, a "capacious hold-all" for the writer’s thoughts, and as offering unmediated access to the diarist’s true self. Focusing on the diaries of Katherine Mansfield, Virginia Woolf, Antonia White, Joe Orton, John Cheever, and Sylvia Plath, this book looks at how six very different professional writers have approached the diary form with its particular demands and literary potential. As a sequence of separate entries the diary is made up of both gaps and continuities, and the different ways diarists negotiate these aspects of the diary form has radical effects on how their diaries represent both the world and the biographical self. The different published editions of the diaries by Katherine Mansfield, Virginia Woolf and Sylvia Plath show how editorial decisions can construct sometimes startlingly different biographical portraits. Yet all diaries are constructed, and all diary constructions depend on how the writer works with the diary form.
The Kenneth Williams Letters by Russell Davies Pdf
Following the bestselling publication of THE KENNETH WILLIAMS DIARIES, the devastating self-portrait of one of our most loved and complex performers is completed with this marvellous selection of his letters. This is a wonderful treasure trove of correspondence with all manner of people, including Alec Guinness, Maggie Smith, Joe Orton, Richard Burton and Elizabeth Taylor, and the Stokers' Mess of HMS Leverton. Kenneth Williams took letters very seriously, and he was always disgusted by a morning that failed to provide him with some material to pore over. Letters called forth the performer in Williams in a way that his diaries never did: many of them are virtual comic monologues, and in general they suggest more strongly than the diaries the likeable and constructive side of a man who remains, nevertheless, as outrageous and 'difficult' as ever.
A black farce masterpiece, Loot follows the fortunes of two young thieves, Hal and Dennis. Dennis is a hearse driver for an undertaker. They have robbed the bank next door to the funeral parlour and have returned to Hal's home to hide-out with the loot. Hal's mother has just died and the pair put the money in her coffin, hiding the body elsewhere in the house. With the arrival of Inspector Truscott, the thickened plot turns topsy-turvy. Playing with all the conventions of popular farce, Orton creates a world gone mad and examines in detail English attitudes at mid-century. The play has been called a Freudian nightmare, which sports with superstitions about death - and life. It is regularly produced in professional and amateur productions. First produced in London in 1966, Loot was hailed as "the most genuinely quick-witted, pungent and sprightly entertainment by a new, young British playwright for a decade" (Sunday Telegraph). The Student Edition offers a plot summary, full commentary, character notes and questions for study, besides a chronology and bibliography.
"Joe Orton's last play, What the Butler Saw, will live to be accepted as a comedy classic of English literature" (Sunday Telegraph) The chase is on in this breakneck comedy of licensed insanity, from the moment when Dr Prentice, a psychoanalyst interviewing a prospective secretary, instructs her to undress. The plot of What the Butler Saw contains enough twists and turns, mishaps and changes of fortune, coincidences and lunatic logic to furnish three or four conventional comedies. But however the six characters in search of a plot lose the thread of the action - their wits or their clothes - their verbal self-possession never deserts them. Hailed as a modern comedy every bit as good as Wilde's The Importance of Being Earnest, Orton's play is regularly produced, read and studied. What the Butler Saw was Orton's final play."He is the Oscar Wilde of Welfare State gentility" (Observer)
A Study Guide for Joe Orton's "Entertaining Mr. Sloane" by Gale, Cengage Learning Pdf
A Study Guide for Joe Orton's "Entertaining Mr. Sloane," 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.
Screenplay to John Lahr's successful dramatization of The Orton Diaries that chronicles the last eight months of Joe Orton's life, his growing theatrical celebrity, and the corresponding punishing effect it had on his relationship with his friend and mentor Kenneth Halliwell, who murdered him on August 9, 1967, and then took his own life.
Peter Buse illuminates the relationship between modern British drama and contemporary critical and cultural theory. He demonstrates how theory allows fresh insights into familiar drama, pairing well-known plays with classic theory texts. The theoretical text is more than applied to the dramatic text, instead Buse shows how they reflect on each other. Drama + Theory provides not only provides new interpretations of popular plays, but of the theoretical texts as well.
Sissy home boys or domestic outlaws? Through a series of vivid case studies taken from across the late nineteenth and twentieth centuries, Matt Cook explores the emergence of these trenchant stereotypes and looks at how they play out in the home and family lives of queer men.