Harley Granville-Barker

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Granville-Barker, Harley,

1877–1946, English dramatist, actor, producer, and critic. As comanager of the Court Theatre from 1904 to 1907 he was an advocate and producer of "uncommercial" and experimental theater in his time. Granville-Barker was the chief producer of the plays of new dramatists as well as those of the great masters; he presented the works of Euripides, Shakespeare, Schnitzler, Shaw, and Galsworthy. His own realistic dramas, including The Voysey Inheritance (1905), Waste (1907), and The Madras House (1910), were not remarkable successes. After 1918, he devoted himself almost entirely to writing, lecturing, and scholarship, and achieved literary distinction with his Prefaces to Shakespeare (6 vol. 1927–46).

Bibliography

See biography by C. B. Purdom (1956, repr. 1971); study by D. Kennedy (1985).

Granville-Barker, Harley

 

Born Nov. 25, 1877, in London; died Aug. 31, 1946, in Paris. English playwright, historian, and theater figure. One of the leaders of the Court Theater (beginning in 1904).

Granville-Barker contributed to the establishment on the stage of the plays of Shaw and Ibsen. His theoretical works, which were aimed against escapist, philistine drama and affirmed the principles of critical realism, included A National Theater (1907, with W. Archer), The Exemplary Theater (1922), and On Dramatic Method (1931). Granville-Barker’s most important work was Prefaces to Shakespeare (vols. 1–5, 1927–49). His plays The Marrying of Anne Leite (1901). The Voysey Inheritance (1905). Waste (1907). The Madras House (1910). and The Ballot Vote (1917) are realistic, slice-of-life dramas.

WORKS

The Secret Life. London, 1923.
On Dramatic Method. New York. 1956.
Prefaces to Shakespeare, vols. 1–2. London [1958].
The Voysey Inheritance: A Play. [London, 1959.]

REFERENCE

Henderson, A. European Dramatists [5th ed.]. New York, 1926.

IU. I. KAGARLITSKII

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1914, in Granville Barker and His Correspondents: A Selection of Letters by Him and to Him, ed.
Unlike the Granville Barker productions of Trojan Women, Davis set the action in a "timeless,' but distinctly modern, world.
A contribution to Macmillan's Modern Dramatists Series, the study promises a reconsideration of what contemporary critics have come to regard as the loyal opposition to the new drama of Ibsen, Shaw, Chekhov, and Granville Barker.
Granville Barker and His Correspondents: A Selection of Letters by Him and to Him (Detroit: Wayne State University Press, 1986), 325.
8) Harley Granville Barker, Plays: Two (London: Methuen, 1994), 37.
Morgan, A Drama of Political Man: A Study in the Plays of Harley Granville Barker (London: Sidgwick and Jackson, 1961), 96.
Salenius, Harley Granville Barker (Boston: Twayne, 1982), 33.
28) Harley Granville Barker, Prefaces to Shakespeare: Volume I (Princeton: Princeton University Press, 1974), 362.
36) Harley Granville Barker, Plays: One (London: Methuen, 1993), 266.
In this, the play's most quietly compelling scene, Granville Barker subtly and incisively reveals that the most secure and highly touted political alliances are really just houses of cards that can crumble at a misplaced word, a missed cue.
It is also the sixth Granville Barker play staged by the Shaw, all under Munro's direction, meaning that whatever else one says of this interpretation, it is done with experience and a solid level of comfort with the playwright.