2,888 research outputs found
Joe Corrigan and Other Man
No full textGeorge Orton, Sons and Spooner Limited works photograph showing showman Joe Corrigan, centre with other man in front of a living wagon
Joe Corrigan and Mrs Corrigan
No full textGeorge Orton, Sons and Spooner Limited works photograph showing a showman, possibly Joe Corrigan and his wife in front of a living wagon
What the Butler Saw by Joe Orton
No full textPoster advertising What the Bulter Saw by Joe Orton, directed by Chris Mildren and presented by St Mary's College at the Guild Theatre, University of Melbourne
Joe Orton: his 'dangerous' drama
No full textThis thesis attempts to examine the various aspects of danger in the drama of British playwright, Joe Orton (1933-1967). The examination deals principally with four of Orton's plays: The Ruffian on the Stair, The
Erpingham Camp, Entertaining Mr. Sloane and Loot.
As a stylist, Orton is descended from Oscar Wilde. His language is artificial and the construction of his plays both deliberate and cogent; no action is left unresolved. The subject-matter of Orton's drama, however,
differs markedly from that of Wilde's. Orton viewed the world as an intrinsically cruel and heartless place. Mankind's greatest crime, he felt, lay in its attempt to ignore the bestial side of its nature. However, such a
view did not prompt outrage in Orton. On the contrary, it prompted delight: a delight manifested in the fact that he chose comedy and not tragedy as his vehicle for dramatic expression.
In his drama, Orton uses the element of danger on two levels. On the first level, he depicts onstage the agents of danger; the victims of those agents; the situations through which danger is engendered; and the
ways in which, through the manipulation of that danger, immorality can triumph over good. On the second level, he communicates
Joe Orton and Leicester: The Literary City and Cultural Heritage
No full textSeveral cities are associated with a specific author, who figures prominently in their heritage culture: London (Dickens), Bath (Austen), Nottingham (D.H. Lawrence), and Glasgow (Alasdair Gray). Leicester, however, has consistently exhibited ambivalence towards its most renowned writer, Joe Orton (1933–67). This essay seeks to illuminate Leicester’s response to Orton in terms of the literary city and cultural heritage. It proposes that in Leicester, a sexually conservative industrial city, decades of resistance to Orton’s queer life and work reflect the moral panics of the day. At the same time, metropolitan accounts of Orton overlook the significance of his provincial hometown, locating literary culture in London. By reconsidering Leicester’s influence on Orton and Orton’s links to Leicester, the essay offers new insights into both. Most significantly, analysis of Orton’s teenage experience prompts re-interpretation of his later assertions of sexual freedom as signs of sexual trauma, a shift that complicates his reputation both as a homosexual hero and, more recently, as a Bad Gay. In a wider context, this reassessment of Orton’s early years enriches Leicester’s cultural heritage and expands prevailing conceptions of the literary city.</p
Joe Orton and Shakespeare: collage, class and queerness
No full textThis essay considers Joe Orton's relationship to Shakespeare through the library book covers that he redesigned with his partner Kenneth Halliwell and through his plays. It proposes that Orton and Halliwell's neglected Shakespeare dust jackets are as subversive as the better-known covers of the popular and middlebrow library books they reworked. Their collages ironise or queer Shakespeare's themes and contest critical authority. By focusing specifically on Arden editions, Orton and Halliwell resist the gentrification of Shakespeare engendered by elitist academic discourse and bourgeois spaces such as the public library and the theatre. The same irreverent attitude to Shakespeare is evident in Orton's plays. Although he admired, identified with and drew inspiration from his predecessor, Orton recycles Shakespeare's plots, lines and motifs to transform their class politics and to amplify their sexual dissidence. Overall, this essay contends that by reshaping Shakespeare from a working class, queer perspective Orton resists the Bard's growing function as an emblem of social distinction in mid-century Britain
Joe Orton and Shakespeare: collage, class and queerness
No full textThis essay considers Joe Orton's relationship to Shakespeare through the library book covers that he redesigned with his partner Kenneth Halliwell and through his plays. It proposes that Orton and Halliwell's neglected Shakespeare dust jackets are as subversive as the better-known covers of the popular and middlebrow library books they reworked. Their collages ironise or queer Shakespeare's themes and contest critical authority. By focusing specifically on Arden editions, Orton and Halliwell resist the gentrification of Shakespeare engendered by elitist academic discourse and bourgeois spaces such as the public library and the theatre. The same irreverent attitude to Shakespeare is evident in Orton's plays. Although he admired, identified with and drew inspiration from his predecessor, Orton recycles Shakespeare's plots, lines and motifs to transform their class politics and to amplify their sexual dissidence. Overall, this essay contends that by reshaping Shakespeare from a working class, queer perspective Orton resists the Bard's growing function as an emblem of social distinction in mid-century Britain
Stage piece on the Oak Street Theatre production of Joe Orton\u27s Entertaining
No full textStage piece on the Oak Street Theatre production of Joe Orton\u27s Entertaining Mr. Sloane
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