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Alan Bennett
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The Habit of Art: A Play ペーパーバック – 2010/9/14

英語版 Alan Bennett (著)
4.4 5つ星のうち4.4 64個の評価
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Benjamin Britten, sailing uncomfortably close to the wind with his new opera, Death in Venice, seeks advice from his former collaborator and friend, W. H. Auden. During this imagined meeting, their first in twenty-five years, they are observed and interrupted by, among others, their future biographer and a young man from the local bus station.

Alan Bennett's new play is as much about the theater as it is about poetry or music. It looks at the unsettling desires of two difficult men, and at the ethics of biography. It reflects on growing old, on creativity and inspiration, and on persisting when all passion's spent: ultimately, on the habit of art.

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  1. 本の長さ
    88ページ
  2. 言語
    英語
  3. 出版社
    Farrar Straus & Giroux
  4. 発売日
    2010/9/14
  5. 寸法
    13.97 x 0.69 x 21.59 cm
  6. ISBN-10
    0865479445
  7. ISBN-13
    978-0865479449
  8. すべての詳細を表示
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商品の説明

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"A multi-levelled work that deals with sex, death, creativity, biography and much else besides . . . beautifully written . . . deeply moving." --Michael Billington, The Guardian

"Bennett the maestro returns with a multi-layered masterpiece . . . hilariously provocative . . . mixes hard-won wisdom about such matters as the meaning of collaboration, the dubious value of biography . . . and flurries of delirious silliness." --Paul Taylor, The Independent

"Deft, amusing, and so intelligently and generously crafted that it makes you feel clever just watching it . . . The Habit of Art is a richly thought-provoking piece about many things, including artistic creation, the vulgarity of biography, sexuality, friendship, the bubble of reputation, but it also has an intriguingly autobiographical feel at times. What sort of artist have I been? Will anything survive?" --Christopher Hart, The Sunday Times

著者について

Alan Bennett is a renowned playwright, essayist, and storywriter whose play The History Boys won six Tony Awards. He is also the author of the Academy Award–nominated screenplay The Madness of King George. He lives in London, England.

登録情報

  • 出版社 ‏ : ‎ Farrar Straus & Giroux; Reprint版 (2010/9/14)
  • 発売日 ‏ : ‎ 2010/9/14
  • 言語 ‏ : ‎ 英語
  • ペーパーバック ‏ : ‎ 88ページ
  • ISBN-10 ‏ : ‎ 0865479445
  • ISBN-13 ‏ : ‎ 978-0865479449
  • 寸法 ‏ : ‎ 13.97 x 0.69 x 21.59 cm
  • カスタマーレビュー:
    4.4 5つ星のうち4.4 64個の評価

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Alan Bennett

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sara
5つ星のうち4.0 Just try it
2017年2月12日にイタリアでレビュー済み
Amazonで購入
Bennett. You just need to know that it's him. A wonderful story about two great men. A wonderful journey to enjoy
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Jeremy Hawker
5つ星のうち5.0 The Habit
2010年1月27日にアメリカ合衆国でレビュー済み
Amazonで購入
I can't go and see this play, so I thought I would read it. Of course, it's nothing like the experience of the theatre, but It was well worth buying. The thing I enjoyed most was Alan Bennett's introduction in which he recalls Auden's time as Professor of Poetry at Oxford in the late 'fifties, while Bennett was a student--Auden's lectures are published in  The Dyer's Hand and Other Essays --and he contrasts this with Auden's stay in 1970-72 when Christ Church gave him a sort of retirement cottage to live in in the college's grounds. It is this period that the play is about: Auden, the fat old celebrity, repeating the same old stories, unable to write anything of value, his great work as a poet long finished, is visited first by a rent boy and then by his old friend Benjamin Britten. The introduction explains how a play-within-a-play structure evolved out of Bennett's protracted arguments with the subsequent director, the otherwise amiable Nicholas Hytner; these led Bennett to introduce the two other characters in the play, namely Auden's biographer Humphrey Carpenter, and the woman who is the stage manager of the "inner" play. As you might expect from a Bennett play, this work is as amusing and well-written as its background is well-researched. About Alan Bennett, the Observer's reviewer of the play said: "[...] the lure of a Bennett play doesn't lie in historical themes; it comes from sentences, riffs and free-standing blasts. Audiences go to hear not just his voice, ventriloquised through his characters, but his views. "
8人のお客様がこれが役に立ったと考えています
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Morganlefay
5つ星のうち5.0 Alan Bannett's 'Habit of Art'
2010年1月10日に英国でレビュー済み
Amazonで購入
The text and original cast list of Alan Bennett's latest stage play (2009). Bennett is a writer whose work stands reading many times, each time revealing something new. Before going to see the play I wanted to read the script so that I would clearly understand what was going on. I'm glad I did because the play has a complicated frame device, with some actors being different characters at different moments in the action. Having read the script I am now all set up to get the most enjoyment out of the stage performance when I go.I also love Faber books because of their stylish fonts. I like this a lot.
6人のお客様がこれが役に立ったと考えています
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Seoulprovider
5つ星のうち4.0 Fascinating Study of two flawed characters
2013年3月13日に英国でレビュー済み
Amazonで購入
I enjoyed reading this and would love to see it on stage or adapted for TV or Radio - although chances are that this play will remain in the shadow of The History Boys. In turns funny and catty the play for me is about 'habit' namely the way an artist's character and behaviour is justified or excused as he or she pursues 'art' no matter what pain and damage is inflicted on the artist's friends, lovers, families. Also 'habit' as in clothing or disguise - the pressure that the artist feels in having to behave in certain ways, according to expectation and etiquette - hiding one's true nature (good or bad) and acting the part society expects you to play. Heavy man! Bennett is funnier than this review - I assure you!
2人のお客様がこれが役に立ったと考えています
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Roger Brunyate
5つ星のうち4.0 A compelling encounter excessively packaged
2010年11月10日にアメリカ合衆国でレビュー済み
Amazonで購入
My four-star rating has little to do with the quality of this play itself, a very interesting work by a major dramatist, but solely with its effect upon the page. Compared to Bennett's  HISTORY BOYS , which reads so lucidly as a free collage of ideas that it hardly requires stage production, THE HABIT OF ART absolutely demands it. This is because Bennett does not merely present a play about a late-life reunion between the poet W. H. Auden and the composer Benjamin Britten, but shows us a rehearsal of that play, in which the actors playing the roles share the limelight with the characters they play, not to mention a host of stage-managers and bit parts, including at one point talking furniture! The resultant layering and multiplication of proper names may cause little problem in production, but they can be very confusing to the reader.

As a young man, Britten was somewhat in awe of Auden, although they collaborated on a number of projects, including the operetta  PAUL BUNYAN  in 1941. The failure of the latter caused a breach between the two which was never healed, so the meeting that Bennett dramatizes is fictitious. It occurs in 1972, when Auden takes up residence at Christchurch, Oxford, and Britten is in town auditioning choirboys for his last opera,  DEATH IN VENICE  (another invention, since the boy's role in that opera was ultimately written for a dancer). The scales have now tipped between the two men, and the situation has much pathos. Auden is presented as a bloated has-been with disgusting personal habits, a far cry from the young Professor of Poetry who so electrified Oxford two decades earlier. He still maintains his "habit of art," but it leads to little new. Britten, on the other hand, is still producing, honored by his country, and surrounded by an entourage of people dedicated to making his life run smoothly. But he is presented as being puritanical, self-isolated, and aloof.

Britten has come to Auden out of loneliness, but the poet thinks he wants help with converting Thomas Mann's  DEATH IN VENICE  into an opera. Auden was one of the great librettists of the century, and he knew Mann, after all, being the writer's son-in-law. But Britten has a librettist already, the excellent Myfanwy Piper, who shares more of the composer's aesthetic than Auden could do now. Yet the two men do share other bonds, as homosexuals forced into self-censorship by the laws of their times, and as successful public figures trying to cope with the fallout of success. When the distracting superstructure of the play falls away to focus on the dialogue of these two great men nearing the end of their lives, the result is simply superb, not least because Alan Bennett himself shares many of the better qualities of his two subjects. I admit that my own enjoyment is also personal, since my professional career in opera has brought me more than once into the fringes of Britten's orbit, and I am myself a librettist. In that capacity, I especially treasure the definition voiced by Bennett's Auden: "What the librettist, the writer of the words, has paradoxically to do is deliver the music. The librettist is the midwife."

This creative process is only one of the many subjects explored in the play. Too many, perhaps. It surprised me that Bennett, who in his superb series of television monodramas called  TALKING HEADS  showed himself to be a master of compression, should have allowed so much fragmentation here. But what he has to say is always worth reading.
7人のお客様がこれが役に立ったと考えています
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