It is hard to define George Bernard Shaw’s expertise in a single sentence or lucid language. His dramatic skill unveils some not-so-familiar marks. In short, while analyzing his comparatively new and modern dramatic technique, both readers and critics find Shaw has some strangeness.
The famous Irish playwright rejuvenates the sleepy, inactive classical technique of playwriting. And with a skillful approach, he applies that to the living or existing modern problems. Being a dramatist of the comparatively modern era, Shaw remains unhesitant in using the methods of Greek dramatic art when necessary to deal with his drama topics.
More interestingly, the ethos of his captivating plays is as natural as he himself. The originality of his creations lies in using them to create an appeal in such a way like an ordinary man tries to make fluent communication utilizing the mass media communion.
In truth, most of his notable comedies appear with the outlines of half lesson and half debate creating space for various significant arguments. Such duality in comic circumstances is rare, especially in dealing with important subjects like social reform, marriage, religion, love, politics, and societal family life.
Also, the majority of George Bernard Shaw’s plays look tradition-based. However, according to many past-decade critics, in the beginning, they seemed to possess originality but in an undramatic form. Even the stage performance of these dramas uncovered some peculiarities. The actors insisted on lacking enough scope for good acting, and due to this, the audience got little space to comprehend their roles properly.
But, in reality, Shaw’s uniquely designed word pattern shows he followed various playwrights to unearth his own techniques in his writing. Readers can easily sense how Shaw used the outlines of famous classic tragedian Euripides and French playwright Moliere while penning his ideas. His characters possess the influence of Shakespearean idiosyncrasy to differentiate them.
Moreover, Shaw has some strangeness with absolute rarity to furnish an unusual dramatic artiste with lively roles. This strange but rare way of vivacious depiction seems never got designed and created by any eminent British dramatist for about three centuries. And with this uncommon artistry, readers can see how Shaw boldly re-introduces and uses long rhetorical speeches. This particular rhetoric-associated technique was a popular and significant style of ancient dramatic art.
It is undeniable that George Bernard Shaw was probably the best repertory of early seventeenth-century classic dramas. His effort in dominating the Shakespearean reputation aimed to clear the ground of competitive eminency before projecting a modern stage breathing with the enthusiasm of a new set of living dramas. This unusual initiative is also a prime reason people consider and find Shaw has some strangeness in his creative journey.
