Introduction: The Apostolic Succession – Ibsen, Shaw, and Brecht. 1. “How Much?” – Money, Survival, and Independence 2. The World as Brothel – Exploiter and Exploited 3. “Special, Chosen People” – Society and the Professional Classes 4. Society’s Crumbling Foundations – Potential Destruction 5. “Scrap It” – Money and Morality 6. The Prospect of Revolution – Reactionaries, Liberals, and Radicals 7. Money and Politics in Ibsen, Shaw and Brecht. Bibliography. Index.
Biography
Bernard F. Dukore is University Distinguished Professor Emeritus in Theatre Arts and Humanities at Virginia Tech, USA. He has written extensively on Bernard Shaw and other modern dramatists, including Shaw’s fellow-Nobel prizewinner, Harold Pinter. His most recent books on Shaw are Crimes and Punishments and Bernard Shaw (2017), Bernard Shaw and the Censors: Fights and Failures, Stage and Screen (2020), and Unions, Strikes, Shaw: “The Capitalism of the Proletariat” (2022).
Reviews for the original edition:
“The value of his study lies principally in the light thrown on each playwright when his work is set beside that of the other two. In this context, Ibsen appears to be more radical and Brecht less radical than are conventionally supposed. . . . the method allows each play to be analyzed in sufficient detail to highlight similarity and difference in the thought of the three playwrights.” —F. L. Radford, Nineteenth Century Theatre Research (1981)
“The principal strength of Money and Politics in Ibsen, Shaw, and Brecht is the splendid perception . . . that certain major plays of these three dramatists neatly fit together in significant groupings formed by similarities in focus, subject matter, and theme. . . . The end result is a number of effective analyses of individual plays and a renewed awareness of the extent to which these three major modern dramatists rigorously attacked existing social values and of the similarities of outlook with which they did so.” —Thomas F. Van Laan, Ibsen News & Comment (1980)
“. . . detailed and skillful analysis.” —Calvin G. Rand, Shaw: The Annual of Bernard Shaw Studies (1981)
