Status
Available
Call number
Genres
Publication
Kbh, Gyldendal, 1938
Description
In Theatre, W. Somerset Maugham–the author of the classic novels Of Human Bondage and Up at the Villa–introduces us to Julia Lambert, a woman of breathtaking poise and talent whose looks have stood by her forty-six years. She is one of the greatest actresses England–so good, in fact, that perhaps she never stops acting. It seems that noting can ruffle her satin feathers, until a quiet stranger who challenges Julia's very sense of self. As a result, she will endure rejection for the first time, her capacity as a mother will be affronted, and her ability to put on whatever face she desired for her public will prove limited. In Theatre, Maugham subtly exposes the tensions and triumphs that occur when acting and reality blend together, and–for Julia–ultimately reverse. From the Trade Paperback edition.… (more)
User reviews
LibraryThing member FloweringCabbages
Theatre follows the lives of an actress and her actor husband who finds himself much more of a director and manager of their eventual own theatre. He is handsome, mediocre on the stage and the essential cog of their entrepeneurial machine. She, Julia, is so encompassing as an actress, wildly
A pleasant read and a gorgeously old fashioned edition - thank you public library.
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vivacious at parties and, initially at least, faithful to Michael. Then the bubble of her life and thoughts leads to an almost mid-life crisis affect. The strive for youth and to experience youth (and own or purchase it, in actuality and metophorically) become obsessions. Although always present, her sarcasm and put-downs of others are heightened and at times she "plays" a unladylike and undesirable "part". She becomes a "damned fool" for love and seeks from others the admiration and ego-massage she preserves her husband with. A vacation for her is conveniently turned into a treat for her hosts and her manipulation of all around her is astounding. Shamefully, the tale does not end, it just stops. I'm sure a good play has a scene or two of tying up lose ends and satisfying it's audience. This novel, however, deems the turn of maturity in Julia in dining alone and proving she exists beyond her many parts a sufficient ending. In truth, I believe Theatre to be perpetual. It could go on and on, as a succesful play would show again again.A pleasant read and a gorgeously old fashioned edition - thank you public library.
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LibraryThing member Julija3
Somerset Maugham before he turned a full fledged novelist was an illustrious playwright. And even though he never got too involved in the workings of the theatre, was a close observer. It is some of this experience that eventually made its way into the novel he wrote later on in 1937.
Theatre or/and
In Julia, Maugham creates a memorable and life and blood female character, who is as despicable as she is delightful, as artificial as she is alluring, and as capricious as she is charming. It's easy to read her as scheming and manipulative, but that would be a surface reading of this extremely complex woman. Linda Goodman would easily identify her as a Geminine - who is many women at the same time. Her airy superficiality and self-absorption make her difficult to like, and yet, Maugham does not condemn her. He writes her part with stunning constancy and depth, and even though he depicts what is truly pathetic about her state, one guesses Maugham is quite taken in by her spirit and allure to let her slip into being anything dismal. He allows her a grand comeback, from the brink of despair.
Theatre or/and
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its 2004 literary adaptation, Being Julia (directed by director István Szabó), is the story of an exquisitely talented and alluring stage actress Julia Lambert, and her trysts with various men. In Julia, Maugham creates a memorable and life and blood female character, who is as despicable as she is delightful, as artificial as she is alluring, and as capricious as she is charming. It's easy to read her as scheming and manipulative, but that would be a surface reading of this extremely complex woman. Linda Goodman would easily identify her as a Geminine - who is many women at the same time. Her airy superficiality and self-absorption make her difficult to like, and yet, Maugham does not condemn her. He writes her part with stunning constancy and depth, and even though he depicts what is truly pathetic about her state, one guesses Maugham is quite taken in by her spirit and allure to let her slip into being anything dismal. He allows her a grand comeback, from the brink of despair.
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LibraryThing member RedH
Scandalous Maugham at his best! Knowing the dramas of theatrical life- i thoroughly enjoyed this book!
LibraryThing member madepercy
Maugham's work is easy to read, not because it is simple, but that he is a story teller. Many subtle nuances permeate the prose, and topics including art, poetry, politics, and sexuality, amid class consciousness, are as near or far as the reader wishes them to be. A few themes that resonate with
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me recently include the notion of solitude. I often think of the 2007 film La Vie en Rose and how Édith Piaf's character at the end says words to the effect of "we all die alone". When I tried to find the precise quote, I stumbled upon a review of the movie in The Guardian from 2007 that indicates the movie was "empty". Yet for me, I had shuddered at the prospect of dying alone until some time after I "unDisneyfied" myself in my forties. In the review, a quote from Olivier Dahan reads that the movie provides "the perfect example of someone who places no barrier between her life and her art". Julia Lambert, Maugham's protagonist, occupies exactly this same space. Although this book can be considered either a tragedy or a comedy, depending on how you look at it (is this even possible?), there is a strong theme of solitude, as in being alone with one's thoughts while being part of society but remaining autonomous from family and friends - as if there is no bond beyond mere convention (Marxist maybe?). Out of the entire cast, Julia Lambert's son emerges as the one intelligent being among a crowd of self-seeking and emotionally greedy individualists who by the end are all likeable but rather annoying (think of Agatha Christie's Poirot and how even she tired of his conceited dandyism - he was a bore). In some ways, an alternative title might even be How to be or not be a Bore. Not that the book is boring, but the characters and their mutual disregard for each other certainly make one think about one's own level of boringness as highlighted by these characters. I think that while audience sympathy for Piaf makes all the difference in the movie, Lambert's rich life of high culture doesn't allow the same leniency. But what is clear is that we live and die alone, whether we think so or not. Theatre leaves me wondering to what extent I bore those around me, live selfishly without noticing, and think I am better than everyone else. To err is human, and Maugham points out that our propensity for being boring, selfish, and judgemental mean that we can only ever err in this regard. Lambert shows us how far we can push it in the guise of blurring life and art. There are a couple of quotes that I find brilliant. First, on acting and poetry: "You had to have had the emotions, but you could only play them when you had got over them. She remembered that Charles had once said to her that the origin of poetry was emotion recollected in tranquility. She did't know anything about poetry, but it was certainly true about acting" (p. 290). Second, when Lambert's son is telling her how he perceives her: "When I've seen you go into an empty room I've sometimes wanted to open the door suddenly, but I've been afraid to in case I found nobody there" (p. 261). The former is true in my experience, but I have never said it so elegantly. The latter is what concerns me more now than dying alone. I can accept that as a future fact, but if I were to be, as Lambert's son does to his mother, peeled back like an onion, would there be anything of substance? In Poetics, Aristotle makes clear distinctions between tragedy and comedy. It seems an absurdity that a story could be both. But I think that is what Maugham achieves. That he does this in a book called Theatre in a story that focuses on actors makes it possible, and, like I said, you could read this story as a comedy and think "those crazy artist types", or, you could read this as a tragedy and think "do I do that with my life?" In either mode, Maugham displays his genius. Show Less
Subjects
Language
Original language
English
Original publication date
1937
Physical description
258 p.; 21.1 cm
Local notes
Omslag: Høyrup
Omslaget er en tegning af en kvinde med to ansigter, et lyst og et mørkt
Indskannet omslag - N650U - 150 dpi
missingdimension
Bennybog
Oversat fra engelsk "Theatre" af Ludvig Holstein
Omslaget er en tegning af en kvinde med to ansigter, et lyst og et mørkt
Indskannet omslag - N650U - 150 dpi
missingdimension
Bennybog
Oversat fra engelsk "Theatre" af Ludvig Holstein
Other editions
To ansigter by W. Somerset Maugham (Paperback)
Similar in this library
Pages
258
DDC/MDS
| 823.914 |