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Private Lives [Format Kindle]

NoÁ«l Coward

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Descriptions du produit

Présentation de l'éditeur

Coward's wit and precision as a modern dramatist is nowhere better exemplified than in this classic modern play from 1930. Elyot Chase and Amanda Prynne (originally played by Gertrude Lawrence and NoÁ«l Coward), recently divorced from one another five years previously, arrive coincidentally at the same French hotel. They are honeymooning with their respective new spouses. Encountering one another by chance, each is at once horrified and fascinated by the other. Together they leave for Paris and begin a roundelay of quarrels and love intrigues that culminate in their getting back together.

Détails sur le produit

  • Format : Format Kindle
  • Taille du fichier : 622 KB
  • Nombre de pages de l'édition imprimée : 98 pages
  • Editeur : Bloomsbury Methuen Drama; Édition : 1 (6 novembre 2013)
  • Vendu par : Amazon Media EU S.à r.l.
  • Langue : Anglais
  • ASIN: B00FPMB6Y2
  • Synthèse vocale : Activée
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  • Word Wise: Non activé
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  • Classement des meilleures ventes d'Amazon: n°96.981 dans la Boutique Kindle (Voir le Top 100 dans la Boutique Kindle)
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Commentaires en ligne

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Commentaires client les plus utiles sur Amazon.com (beta)
Amazon.com: 4.0 étoiles sur 5  9 commentaires
1 internautes sur 1 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 "To hell with love." 21 septembre 2005
Par Mary Whipple - Publié sur Amazon.com
Format:Broché
This farcical look at marriage, first produced in 1930, starred the author, Noel Coward, and the legendary Gertrude Lawrence. The play's recent revivals in London and New York, however, attest to its incisive wit and its razor-sharp social observation, both of which transcend the 1930s setting and give continuing life and relevance to the play.

Elyot Chase, five years divorced, has just married a young bride, Sybil, with whom he is on his honeymoon at a French seaside resort. His former wife, Amanda Prynne, has also just remarried, and, coincidentally, she and Victor, her new husband, are also honeymooning--in the room next door. Inevitably, Elyot and Amanda rediscover each other on their adjoining balconies, find themselves drawn to each other, and abandon their new spouses at the resort to run away together to Paris.

The major action of the play shows us the relationship of Elyot and Amanda in Paris as they try to sustain their rekindled love and avoid the pitfalls that destroyed their original marriage. Both are passionate, uninhibited, live-in-the-moment people, and both have married very traditional, predictable, and conformist new spouses. When Sybil and Victor eventually discover the lovers, who, by now, are fighting and even engaging in fisticuffs, Coward makes his point about the nature of relationships, their fragility and/or what makes them endure.

Though the play is set in the 1930s, Coward so accurately captures human traits and behavior that the play is still delighting audiences today. In his opening scene, for example, he shows Sybil subjecting new husband Elyot to a mood-killing interrogation about his former wife. He then turns this scene on its head by showing Victor interrogating Amanda about her honeymoon with Elyot, showing the two new spouses to be identical to each other--and completely opposite to Elyot and Amanda. The scenes in Paris, in which Elyot and Amanda, their passion rekindled, try to keep their roiling anger under control are hilarious, and when they eventually resort to slapping and dish-throwing, the elegant verbal duels and clever repartee we have seen till now change the play into a more visually exciting and more farcical experience.

The ending of the play is not really a resolution, but it does confirm Coward's theme that though opposites may attract in the short term, this kind of attraction may not be as powerful as the attraction between like characters, which, however, can change instantly when familiarity breeds contempt. Sardonic and sometimes a bit cynical, the play artfully captures the vicissitudes of a wild, passionate relationship and provides insights into its inner workings. Mary Whipple
1 internautes sur 1 ont trouvé ce commentaire utile 
1.0 étoiles sur 5 This is Terrible 15 décembre 2009
Par Jim K. - Publié sur Amazon.com
Format:CD
After having bought & listened to LA Theatre Works Audio production of "Private Lives" I can say this - it's terrible. The script has been cut, the actors are way over the top, there is an incessant beeping sound in the background and it is not funny in the least. Forget it.
5.0 étoiles sur 5 A Wonderful Gem by one of the Great Wits of Theatre 24 novembre 2013
Par Chris Stoner - Publié sur Amazon.com
Format:Broché|Achat vérifié
To start, I am a huge Noel Coward fan and this is easily one of his best. The wit is crackling and classic Coward, and features the tumultuous relationships among two exes and their new spouses. The main characters, Eliot and Amanda, are a volatile pair, and their relationship is both passionate and deeply, deeply dysfunctional. They have left each other and found new love with Sibyl and Victor, companions who are much quieter and much less exciting. Sibyl and Victor and meant to represent traditional notions of femininity and masculinity respectively, and it's not surprising that they end up being terrible matches for the unconventional Eliot and Amanda.

The show is definitely a product of its time, and the violence in the show is played for laughs, but modern audiences should turn a critical eye to the very real issue that underlies this play. At one point, after Amanda says that she always thought it was inexcusable for a man to hit a woman, Eliot replies "On the contrary, I think some women should be struck regularly, like gongs." This sentiment is problematic, and though it becomes part of the over-the-top and very stylized violence that epitomizes the volcanic romance between Eliot and Amanda, it doesn't play the same way today as it may have in Coward's time. Rather than relegate this piece to history as a relic, however, the play provides a terrific opening to talk about the issue of violence in intimate relationships in a more complex way; it's like Eminem's "Love the Way You Lie" for the 1930s crowd.

If you haven't read any Noel Coward, this is a great place to start as it showcases his wit and masterful construction beautifully (Blithe Spirit, Hay Fever, and Easy Virtue are also highly recommended). If you are already a Coward fan but haven't read this particular work, you will not be disappointed.
4 internautes sur 6 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 "To hell with love." 9 avril 2005
Par Mary Whipple - Publié sur Amazon.com
Format:Broché
This farcical look at marriage, first produced in 1930, starred the author, Noel Coward, and the legendary Gertrude Lawrence. The play's recent revivals in London and New York, however, attest to its incisive wit and its razor-sharp social observation, both of which transcend the 1930s setting and give continuing life and relevance to the play.

Elyot Chase, five years divorced, has just married a young bride, Sybil, with whom he is on his honeymoon at a French seaside resort. His former wife, Amanda Prynne, has also just remarried, and, coincidentally, she and Victor, her new husband, are also honeymooning--in the room next door. Almost immediately, Elyot and Amanda rediscover each other on their adjoining balconies, find themselves drawn to each other, and abandon their new spouses at the resort to run away together to Paris.

The major action of the play shows us the relationship of Elyot and Amanda in Paris as they try to sustain their rekindled love and avoid the pitfalls that destroyed their original marriage. Both are passionate, uninhibited, live-in-the-moment people, and both have married very traditional, predictable, and conformist new spouses. When Sybil and Victor eventually discover the lovers, who, by now, are fighting and even engaging in fisticuffs, Coward makes his point about the nature of relationships, their fragility and/or what makes them endure.

Though the play is set in the 1930s, Coward so accurately captures human traits and behavior that the play is still delighting audiences today. In his opening scene, for example, he shows Sybil subjecting new husband Elyot to a mood-killing interrogation about his former wife. He then turns this scene on its head by showing Victor interrogating Amanda about her honeymoon with Elyot, showing the two new spouses to be identical to each other--and completely opposite to Elyot and Amanda. The scenes in Paris, in which Elyot and Amanda, their passion rekindled, try to keep their roiling anger under control are hilarious, and when they eventually resort to slapping and dish-throwing, the elegant verbal duels and clever repartee we have seen till now change the play into a more visually exciting and more farcical experience.

The ending of the play is not really a resolution, but it does confirm Coward's theme that though opposites may attract in the short term, this kind of attraction may not be as powerful as the attraction between like characters, which, however, can change instantly when familiarity breeds contempt. Sardonic and sometimes a bit cynical, the play artfully captures the vicissitudes of a wild, passionate relationship and provides insights into its inner workings. Mary Whipple
1 internautes sur 2 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Reality check 7 avril 2005
Par M. Willett - Publié sur Amazon.com
Format:Broché
Let me say first that I realize the absurdity of this review. At a certain point (around the time when a piece of writing turns into literature with a capital "L," I would guess) the idea of a review begins to sound wrong-headed. While I could happily review a performance of Private Lives, during which the director's choices and actor's investment, among other things, are judged, to "rate" Coward is, on a lesser scale, like rating Shakespeare: I've no business doing it; he's smarter than I am, and has anticipated any criticisms I might make and worked their solutions into the play ahead of time.

And so I write here only that I read it during the summer of 2004, so that I remember. Also, the play is strangely contemporary, which maybe it has always been, but with our (by "our" I mean "American") current rage of reality T.V.-induced relationship voyeurism, this particular piece of fast-paced, uber-chic, drama of misplaced affections reads familiarly and feels right. Far be it from me to equate Coward's characteristic wit, and his perfect timing with MTV-style "documentary," but reading Private Lives, one can't help but sense, is a little like what those shows would become given a cast of charismatic, linguistic geniuses with enviable 1920's pinache.
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