School for Scandal

In The School for Scandal, Sheridan's artificial world of heightenedwit and heightened folly delights its audience, but at times it engagesthem with moments of human pain and happiness, before delivering themback to its comedy. In The School for Scandal, Sheridan's artificial world of heightenedwit and heightened folly delights its audience, but at times it engagesthem with moments of human pain and happiness, before delivering themback to its comedy.

Informationen zum Autor Richard Brinsley Sheridan (1751-1816) Dublin-born playwright and theatre manager, who produced three classic comedies within a five-year writing career. "Whatever Sheridan has done or chosen to do," Lord Byron wrote, "has been, par excellence, the best of its kind." He was the son of the Irish actor-manager Thomas Sheridan and his wife Frances, a popular novelist. In 1775 the double success of Sheridan's first great comedy, The Rivals , and his comic opera The Duenna allowed him to buy Garrick's share in Drury Lane; he became manager in 1776 and sole owner two years later. Another brilliant comedy of manners, The School for Scandal , opened in 1777 at Drury Lane to universal acclaim. He also wrote a burlesque of heroic drama, The Critic (1779). All are high comedies, featuring such memorable characters as Mrs Malaprop, Lady Teazle, and Mr Puff. Unfortunately he was not so brilliant in his management of Drury Lane. His love of extravagant spectacles almost led to bankruptcy, and he constantly became embroiled in legal action against managers of unlicensed theatres. In 1794 he rebuilt his theatre to such vast proportions that Mrs Siddons called it "a wilderness of a place". In 1780 Sheridan abandoned the theatre to enter parliament, where he gained a reputation as a fine orator (on one occasion speaking for over five hours). When Drury Lane caught fire in 1809 he drank a leisurely glass of wine at the Great Piazza coffee house, watching the flames consume his theatre and remarking "A man may surely be allowed to take a glass of wine at his own fireside." He died in poverty. Klappentext Enduringly popular less for its plots than for its verbal brilliance and wit, The School for Scandal (1777) was the most frequently performed play of its time. Sir Peter Teazle has made the perennial mistake of elderly bachelors in English comedy and married a much younger wife in the hope that she will be too innocent to cross him. In fact, Lady Teazle spends her time with Lady Sneerwell and the worst set of scandalmongers in town, who have a beady eye on Charles Surface, the reckless young libertine, in expectation of seeing him ruined. Charles, however, turns out to possess the sterling virtues of generosity and loyalty to friends and family; and it is his hypocritical brother Joseph who ends up the villain of the piece. This edition discusses Sheridan's earlier drafts for the play and sets it into its theatrical context of anti-sentimentalism and its social context of the London High Society in which Sheridan had begun to move. Vorwort In The School for Scandal, Sheridan's artificial world of heightenedwit and heightened folly delights its audience, but at times it engagesthem with moments of human pain and happiness, before delivering themback to its comedy. Zusammenfassung In The School for Scandal, Sheridan's artificial world of heightened wit and heightened folly delights its audience, but at times it engages them with moments of human pain and happiness, before delivering them back to its comedy....

Préface
In The School for Scandal, Sheridan's artificial world of heightened wit and heightened folly delights its audience, but at times it engages them with moments of human pain and happiness, before delivering them back to its comedy.

Auteur
Richard Brinsley Sheridan (1751-1816) Dublin-born playwright and theatre manager, who produced three classic comedies within a five-year writing career. "Whatever Sheridan has done or chosen to do," Lord Byron wrote, "has been, par excellence, the best of its kind." He was the son of the Irish actor-manager Thomas Sheridan and his wife Frances, a popular novelist. In 1775 the double success of Sheridan's first great comedy, The Rivals, and his comic opera The Duenna allowed him to buy Garrick's share in Drury Lane; he became manager in 1776 and sole owner two years later. Another brilliant comedy of manners, The School for Scandal, opened in 1777 at Drury Lane to universal acclaim. He also wrote a burlesque of heroic drama, The Critic (1779). All are high comedies, featuring such memorable characters as Mrs Malaprop, Lady Teazle, and Mr Puff. Unfortunately he was not so brilliant in his management of Drury Lane. His love of extravagant spectacles almost led to bankruptcy, and he constantly became embroiled in legal action against managers of unlicensed theatres. In 1794 he rebuilt his theatre to such vast proportions that Mrs Siddons called it "a wilderness of a place". In 1780 Sheridan abandoned the theatre to enter parliament, where he gained a reputation as a fine orator (on one occasion speaking for over five hours). When Drury Lane caught fire in 1809 he drank a leisurely glass of wine at the Great Piazza coffee house, watching the flames consume his theatre and remarking "A man may surely be allowed to take a glass of wine at his own fireside." He died in poverty.

Texte du rabat

Enduringly popular less for its plots than for its verbal brilliance
and wit, The School for Scandal (1777) was the most frequently
performed play of its time. Sir Peter Teazle has made the perennial
mistake of elderly bachelors in English comedy and married a much
younger wife in the hope that she will be too innocent to cross him. In
fact, Lady Teazle spends her time with Lady Sneerwell and the worst set
of scandalmongers in town, who have a beady eye on Charles Surface, the
reckless young libertine, in expectation of seeing him ruined. Charles,
however, turns out to possess the sterling virtues of generosity and
loyalty to friends and family; and it is his hypocritical brother
Joseph who ends up the villain of the piece. This edition discusses
Sheridan's earlier drafts for the play and sets it into its theatrical
context of anti-sentimentalism and its social context of the London
High Society in which Sheridan had begun to move.