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Who's Afraid of Virginia Woolf? (Anglais) Poche – 1 mars 1983


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Descriptions du produit

Revue de presse

“Albee can…be placed high among the important dramatists of the contemporary world theatre.”—New York Post“An irreplaceable experience…A crucial event in the birth of contemporary American theatre.”—Village Voice

Présentation de l'éditeur

“Twelve times a week,” answered Uta Hagen, when asked how often she’d like to play Martha in Who’s Afraid of Virginia Woolf? Like her, audiences and critics alike could not get enough of Edward Albee’s masterful play. A dark comedy, it portrays husband and wife George and Martha in a searing night of dangerous fun and games. By the evening’s end, a stunning, almost unbearable revelation provides a climax that has shocked audiences for years. With the play’s razor-sharp dialogue and the stripping away of social pretense, Newsweek rightly foresaw Who’s Afraid of Virginia Woolf? as “a brilliantly original work of art—an excoriating theatrical experience, surging with shocks of recognition and dramatic fire [that] will be igniting Broadway for some time to come.”



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Couverture | Copyright | Table des matières | Extrait | Quatrième de couverture
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42 internautes sur 45 ont trouvé ce commentaire utile 
one of the best modern plays 9 mai 2000
Par Cassandra - Publié sur Amazon.com
Format: Poche
A play in three acts, a very simple setting, and only four characters who live in a small, university town in America: a middle-aged couple, Martha and George. And a "young and innocent" couple, Nick and Honey. They all meet in a room, in Martha and George's house, very late one night, for a nightcap. And then...all hell breaks lose.
The play tears apart both marriages: the middle aged couple, who seem to hate each other and in the end turn out to be much more devoted to each other as it would seem. The young, seemingly perfect couple, who turn out to have lots of problems of their own. In three heart-breaking scenes, using dialogue that cuts like a knife, Edward Albee has written a masterpiece. He manages to give a clear-cut, honest picture of the reality of marriage, the reality of love, and the fears that go hand in hand with love and intimacy. At some point, in act three, Martha talks about her husband- and it's probably one of the best pieces of literature I've read:
"...George who is out somewhere there in the dark...George who is good to me, and whom I revile; who understands me, and whom I push off; who can make me laugh, and I choke it back in my throat; who can hold me, at night, so that it's warm, and whom I will bite so there's blood; who keeps learning the games we play as quickly as I can change the rules; who can make me happy and I do not wish to be happy, and yes I do wish to be happy, George and Martha: sad, sad, sad."
What more can I say? just read the play, and if you get the chance, watch it performed in the theatre, too.
29 internautes sur 31 ont trouvé ce commentaire utile 
The Most Beautiful Modern Drama 6 juillet 1999
Par Un client - Publié sur Amazon.com
Format: Poche
Looking past the rough language and the slew of verbal insults, one can see a sheer literary masterpiece. It wonderfully shows the struggle of George and Martha trying to come to terms with the reality they have created for themselves. When George discloses the secret of their son's nonexistence, he is forcing he and his wife to forfeit their mind games and live as functional human beings. By the way, in rebuttal, the title is absolutely perfect. Anyone with literary knowledge knows that Virginia Woolf was a realist who tried to present life as it truly is. Martha, at the end, is afraid of Woolf, or the symbol of life without pretenses.
9 internautes sur 9 ont trouvé ce commentaire utile 
Witty, sassy, funny! 18 novembre 2003
Par Matthew Krichman - Publié sur Amazon.com
Format: Poche
Brilliantly vitriolic, witty, and sassy, this is one of the most engrossing and readable dramas you are likely to come across. At its most basic level, this play is so simple - just four characters, one room, and all the action taking place in the space of a few hours. But in terms of substance this is a powerfully rich and complex work of genius. The writing cuts like a sharp knife, the characters are exquisitely developed and original, and their chemistry is charged with an undeniable energy.
The characters are at odds with each other throughout the play, and yet it is difficult to takes sides with only one of them. They are all both likeable and dislikeable at the same time. George is a mean-spirited passive-aggressive with a huge chip on his shoulder, but it's impossible not to root for him as he joyfully attacks his wife, Martha, for her fondness of the bottle and various other sins. Nick's demeanor is just a tad holier-than-thou, but it is easily forgivable given the outrageous treatment he is forced to endure throughout the evening. Honey, his wife, is a ditz and a lush, but loveable in the same way as an Irish Setter. Any one of the four could easily carry the show, and together they create a powerful tension that keeps the play moving at a brisk pace.
It is easy to see why Albee's writing has earned him a Pulitzer Prize. What is surprising is that is was another, lesser-known play and not this one that he won it for.
19 internautes sur 22 ont trouvé ce commentaire utile 
Some of the best dramas on man/woman misunderstanding 12 janvier 2002
Par Ventura Angelo - Publié sur Amazon.com
Format: Poche
This is the stuff real drama is made:the human soul.And we see four torn, ravaged soul caught in a maelstrom of bitter emotions caused by frustration,unrequited love,anger and guilt feelings. Martha can't understand George's despair, that his apathy is generated by his ultimate failure to find a source of hope and meaning in his life; George can't understand the frustration of Martha, her own feeling of failure being incapable to connect whit him, to save him from his passive/aggressive depression; nor can Nick and Honey comprehend them, and indeed themselves. The sadistic rituals of games are like pagan sacrifices, made by the characters to the god of modern angst to know the truth on themselves. As the sad truth is revealed, they emerge maybe purified, surely wiser.This drama is like an interpretation of Eliot's Wasteland . The spirit,expecially in the final scenes,is very similar.
17 internautes sur 20 ont trouvé ce commentaire utile 
Communication Problem 13 mai 2001
Par Ronnie Khoury - Publié sur Amazon.com
Format: Poche
Edward Albee truly explores and humiliates the human fallacy of communication and insecurity in Who's Afraid of Virginia Woolf? with the use of repetition and a critical and satirical tone. In the play, Albee creates a tension between the two main characters of George and Martha. Throughout the play, Martha repeatedly sings "Who's Afraid of Virginia Woolf?" Although this song correlates to the title of the play, it also contains a deeper and more stylistic purpose to it. It basically means "Who's Afraid of life without false illusions?" according to Albee. When Martha sings George this very song, she is really asking him if he can continue life without lying to himself, but rather be honest with himself and live with the truth. This repetition of questioning with the song creates the feeling of insecurity within the characters. It arrives to the question if they can really handle the situation. In another example of repetition, Albee repeatedly has the characters of George and Martha suspiciously talk of and mention about their son. The repetition of this illusion by these characters creates the fantasy, which they live by, and how they carry on with this fantasy to fulfill their happiness. This correlates to the problem of insecurity Albee wishes to create through the use of the characters. Not only does Albee use this repetition to carry out his philosophical views on human existence, but he also validates the communicable issues with the satirical and critical tone throughout the play. The satirical tones of the sick games the couples fancy during the play spark a disturbing appearance toward the characters and their disgusting communication. Albee truly makes a disturbing communication problem when Martha plays "Humiliate the Host". She picks and edges at George's weakest aspects and embarrassments. This satirical tone demeans the couple's communication as Martha humiliates her husband in front of the guests. These disturbing game shows the true disgust of the American society as Albee demonstrates. Not only does his writing open a new door for us to look in to, but it also helps to pinpoint our nation's problems. The use of the character's insecurities not only relate to Albee's purpose of demonstrating a couple's in ability to cope and deal with life, but it also deals with society's problems. The stylistic strategies of Albee aid in our discovery of his purpose in the play but also in society.
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