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Who's Afraid of Virginia Woolf?

[Kargas]

Who's Afraid of Virginia Wolf?

Who's Afraid of Virginia Woolf?
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Who's Afraid of Virginia Woolf?
Written by    Edward Albee
Characters    Martha
George
Nick
Honey
Date of premiere    October 13, 1962

    For the 1966 film adaptation, see Who's Afraid of Virginia Woolf? (film)

Who's Afraid of Virginia Woolf? is a play by Edward Albee that opened on Broadway at the Billy Rose Theater on October 13, 1962. The original cast featured Uta Hagen as Martha, Arthur Hill as George, Melinda Dillon as Honey and George Grizzard as Nick. It was directed by Alan Schneider. Subsequent cast members included Henderson Forsythe, Eileen Fulton, and Mercedes McCambridge, and Elaine Stritch.

Who's Afraid of Virginia Woolf? won both the 1963 Tony Award for Best Play and the 1962-63 New York Drama Critics' Circle Award for Best Play. It was also selected for the 1963 Pulitzer Prize for Drama by that award's drama jury. However, the award's advisory board — the trustees of Columbia University— objected to the play's then-controversial use of profanity and sexual themes, and overruled the award's advisory committee, and awarded no Pulitzer Prize for drama in 1963.
Contents
[hide]

    * 1 Overview
    * 2 Plot summary
          o 2.1 "Fun and Games"
          o 2.2 "Walpurgisnacht"
          o 2.3 "The Exorcism"
    * 3 2004-2007 production
    * 4 Film
    * 5 Notes
    * 6 External links
          o 6.1 Reviews

[edit] Overview

In the play, George and Martha invite a new professor and his wife to their house after a party. Martha is the daughter of the president of a university where George is an associate history professor. Nick (who is never addressed or introduced by name) is a biology professor who Martha thinks teaches math, and Honey is his mousy, brandy-abusing wife. Once at home, Martha and George continue drinking and engage in relentless, scathing verbal and sometimes physical abuse in front of Nick and Honey. Nick and Honey are simultaneously fascinated and embarrassed. They stay even though the abuse turns periodically towards them as well.

The play's title, which alludes to the novelist Virginia Woolf, is a parody of the song "Who's Afraid of the Big Bad Wolf?" from Walt Disney's animated version of The Three Little Pigs. However, since obtaining the rights to use the music of this song would have been astronomically expensive, most stage versions, and the film, have Martha sing it to the tune of "Here We Go Round the Mulberry Bush," which fits the meter fairly well and is in the public domain. It is revealed in the first few moments of the play that this little song occurred earlier in the evening, at a party , although who first sang it (Martha or some other anonymous party guest) remains unclear. Martha and George repeatedly needle each other over whether either one of them found it funny.

The idea for the play's title came to Albee from a line of graffiti he saw scrawled on a mirror in a bar.

    I was in there having a beer one night, and I saw "Who's Afraid of Virginia Woolf?" scrawled in soap, I suppose, on this mirror. When I started to write the play it cropped up in my mind again. And of course, who's afraid of Virginia Woolf means who's afraid of the big bad wolf . . . who's afraid of living life without false illusions. And it did strike me as being a rather typical, university intellectual joke.

        — Edward Albee[1]

In interviews, Albee has said that he asked Woolf's widower Leonard Woolf for permission to use her name in the title of the play. In another interview, Albee acknowledged that he based the characters of Martha and George on his good friends, New York socialites Willard Maas and Marie Menken. Maas was a professor of literature at Wagner College (one similarity between the character George and Willard) and his wife Marie was an experimental filmmaker and painter. Maas and Menken were known for their infamous salons, where drinking would "commence at 4pm on Friday and end in the wee hours of night on Monday" (according to Warhol associate and friend to Maas, Gerard Malanga). The primary conflict of Who's Afraid of Virginia Woolf? derives from Maas and Menken's tempestuous and volatile relationship.

Because of the dark, unflattering glimpse of heterosexual married life, many critics at the time suggested the play was a thinly veiled portrait of two gay couples. Albee (who himself is openly gay) has adamantly denied this, stating to a number of interviewers over the years, "If I'd wanted to write a play about two gay couples, I would have done so." Albee has refused permission to theater companies to cast all four roles with men, saying this would distort the play's meaning.

There are many darker veins running through the play's dialogue which suggest that the border between fiction and reality is continually challenged. The play ends with Martha answering the titular question of who is afraid to live their life free of illusions with, "I am, George, I am." Implicitly, exposure is something everyone fears; facade (be it social or psychological), although damaging, provides a comfort.
[edit] Plot summary

The play involves the two couples playing "games," which are savage verbal attacks against one or two of the others at the party. These games are referred to with sarcastically alliterative names: "Humiliate the Host", "Get the Guests", "Hump the Hostess", and "Bringing Up Baby".

[edit] "Fun and Games"

Martha, in the first act, "Fun and Games", taunts George. She stresses his failures, very nearly brutally, even after George reacts violently:

    Martha: ...In fact, he was sort of a ... a FLOP! A great...big...FLOP!
    [CRASH! Immediately after FLOP! George breaks a bottle against the portable bar...]
    George [almost crying]: I said stop, Martha.
    Martha: I hope that was an empty bottle, George. You don't want to waste good liquor...not on your salary.

In act two, "Walpurgisnacht", Nick and George are alone. Nick talks about his wife and her hysterical pregnancy:

    George [to Nick]: While she was up, you married her.
    Nick: And then she went down.

George tells Nick a story about a boy who shot and killed his mother accidentally, and who while learning to drive kills his father: "with his learner's permit in his pocket...swerved the car, to avoid a porcupine, and drove straight into a large tree...when they told him that his father was dead...he was put in an asylum." George tells this story early in the second act, but its echo reverberates throughout the play.

Once the wives rejoin the men, Martha begins to describe (in the face of a persistent protest from George) her husband's only novel, buried by her powerful and controlling father: "A novel about a naughty boychild...who killed his mother and his father dead." Martha continues: "Georgie said...but Sir, it isn't a novel at all...this really happened...TO ME!" The culmination of George's violent reaction to Martha's refusal to stop telling this story is to grab Martha by the throat and very nearly to strangle her. In his stage direction, Albee suggests that Nick may be making a connection between the "novel" and the story George had told him earlier.

    Nick [remembering something related]: Hey...wait a minute...

Is George the boy who "killed his mother and his father"? If so, was he lying to Nick about the asylum, or is the "asylum" instead a metaphor? Is the asylum in his mind in the home in which he and Martha subsist? Is Martha lying about the novel, or is something else afoot? What is true is not clear. This emotionally and sometimes violent scene concludes the game of "Humiliate the Host."

[edit] "Walpurgisnacht"

George is quick to retort in the next game, "Get the Guests." While Nick and George were talking earlier, Nick related the story of his and Honey's marriage. His now thoroughly drunken wife Honey realizes that George's story about "the Mousie" who "tooted brandy immodestly and spent half of her time in the upchuck", is about her and her hysterical pregnancy. She feels as if she is about to be sick and runs to the bathroom.

At the end of this scene, Martha starts to seduce Nick blatantly in the face of George. George reacts calmly, simply sitting and reading a book:

    Martha: ...I said I was necking with one of the guests...
    George: Yes, good...good for you. Which one?
    Martha: Oh, I see what you're up to, you lousy little...
    George: I'm up to page a hundred and...

At the end of the act, Honey comes out, hearing George throw his book against the door chimes in anguish, wondering who rang. This gives George an idea, and leads into the next, crucial act of the play.

[edit] "The Exorcism"

In the third act, Martha appears alone on the stage, speaking in soliloquy. Nick joins her after a while, recalling Honey in the bathroom winking at him. The doorbell rings: it is George, with a bunch of snapdragons in his hand, calling out, "Flores para los muertos" (flowers for the dead, in a reference to A Streetcar Named Desire). Martha and George argue about whether the moon is up or down (possibly a Taming of the Shrew reference): George insists it is up while Martha says she saw no moon from the bedroom. George then goes on to say how once, when he was in the Mediterranean, the moon went down and came up again. Nick asks whether this incident occurred after George killed his parents:

    George [defiantly]: Maybe.
    Martha: Yeah; maybe not, too.
    ...
    George [to Nick]: Truth and illusion. Who knows the difference...?

George asks Nick to bring his wife back out for the final game, "Bringing Up Baby." George and Martha supposedly have a son, about whom George has repeatedly instructed Martha to keep quiet. George now begins to talk about this son - "Martha...climbing all over the poor bastard, trying to break the bathroom door down to wash him in the tub when he's sixteen." Then George prompts Martha for her "recitation", in which they describe their son's upbringing in a duet:

    Martha: It was an easy birth...
    George: Oh, Martha; no. You laboured...how you laboured.
    Martha: It was an easy birth...once it had been...accepted, relaxed into.

As this tale progresses, George begins to recite sections of the Dies Irae (part of the Requiem, the Latin mass for the dead), and in the end:

    George: Martha...our son is...dead.

        [Silence.]
        He was...killed...late in the afternoon...
        [Silence.]
        [A tiny chuckle] on a country road, with his learner's permit in his pocket, he swerved, to avoid a porcupine, and drove straight into a ...

    Martha [rigid fury]: YOU...CAN'T...DO...THAT!

Supposing their son had been real, what had George done to prompt this response from Martha? The circumstances of their son's death were touched on earlier in the play in a different context.

George and Martha have created their son; he does not exist as George and Martha could not have children. George says that he "killed" their son because Martha broke their rule that she could not speak of their son to others. The play ends with George singing, "Who's afraid of Virginia Woolf?" to Martha, whereupon she replies, "I am, George... I am".

[edit] 2004-2007 production

Starting in 2004 and continuing into 2005, there was a new Broadway production of the play. The production was directed by Anthony Page and starred Kathleen Turner as Martha and Bill Irwin as George. Irwin won the 2005 Tony award for Best Actor for his role. The production was transferred to London's West End with the entire original cast, and as of March 2006 was playing at the Apollo Theatre on Shaftesbury Avenue. In January 2007, the Turner-Irwin production was performed at the John F. Kennedy Center for the Performing Arts in Washington, D.C., for a month-long run. On February 6, 2007, the production began a six-week run at the Ahmanson Theatre in Los Angeles.

Who's Afraid of Virginia Woolf? went on tour in the US and played in San Francisco at the Golden Gate Theater from April 11 to May 12, 2007. This production excluded key moments in the original production, including the moment of recognition on the part of Honey that the child at the center of the battle between George and Martha is imaginary. These exclusions arguably diminished the cathartic impact of the original text and production and the film.

The play is performed in three acts, and is a little under three hours long (1 hour, 1 hour, 40 minutes, with two 10 minute intermissions).

[edit] Film

    Main article: Who's Afraid of Virginia Woolf? (film)

A film adaptation of the play was released in 1966. It was directed by Mike Nichols and starred Elizabeth Taylor as Martha and Richard Burton as George.

Jack Valenti identifies the film as the first controversial movie he had to deal with as President of the Motion Picture Association of America (MPAA). The movie was the first to use the word "screw" and the phrase "hump the hostess" on screen. As he says, "In company with the MPAA's general counsel, Louis Nizer, I met with Jack Warner, the legendary chieftain of Warner Bros., and his top aide, Ben Kalmenson. We talked for three hours, and the result was deletion of "screw" and retention of "hump the hostess," but I was uneasy over the meeting."[2]

[edit] Notes

   1. ^ Flanagan, William. (1966, Fall). "The Art of Theater No. 4: Edward Albee", The Paris Review, Issue 39
   2. ^ Valenti, Jack. How It All Began

[edit] External links

    * Who's Afraid of Virginia Woolf? at The Internet Broadway Database

[edit] Reviews

    * Guardian review of London production 01/02/2006
    * London Theatre Guide (London 2005)
    * Anni Bruno (London 2005)

Wikiquote has a collection of quotations related to:
Who's Afraid of Virginia Woolf?
[show]
v • d • e
Plays by Edward Albee
The Zoo Story · The Death of Bessie Smith · The Sandbox · Fam and Yam · The American Dream · Who's Afraid of Virginia Woolf? · The Ballad of the Sad Cafe · Tiny Alice · Malcolm · A Delicate Balance · Everything in the Garden · Box · All Over · Seascape · Listening · Counting the Ways · The Lady From Dubuque · Lolita · The Man Who Had Three Arms · Finding the Sun · Marriage Play · Three Tall Women · The Lorca Play · Fragments · The Play About the Baby · The Goat, or, Who is Sylvia? · Occupant · Peter & Jerry
[show]
v • d • e
Tony Award for Best Play: Winners

1940s: 1948: Mister Roberts · 1949: Death of a Salesman

1950s: 1950: The Cocktail Party · 1951: The Rose Tattoo · 1952: The Fourposter · 1953: The Crucible · 1954: The Teahouse of the August Moon · 1955: The Desperate Hours · 1956: The Diary of Anne Frank · 1957: Long Day's Journey into Night · 1958: Sunrise at Campobello · 1959: J.B.

1960s: 1960: The Miracle Worker · 1961: Becket · 1962: A Man for All Seasons · 1963: Who's Afraid of Virginia Woolf? · 1964: Luther · 1965: The Subject Was Roses · 1966: Marat/Sade · 1967: The Homecoming · 1968: Rosencrantz & Guildenstern Are Dead · 1969: The Great White Hope

1970s: 1970: Borstal Boy · 1971: Sleuth · 1972: Sticks and Bones · 1973: That Championship Season · 1974: The River Niger · 1975: Equus · 1976: Travesties · 1977: The Shadow Box · 1978: Da · 1979: The Elephant Man

1980s: 1980: Children of a Lesser God · 1981: Amadeus · 1982: The Life and Adventures of Nicholas Nickleby · 1983: Torch Song Trilogy · 1984: The Real Thing · 1985: Biloxi Blues · 1986: I'm Not Rappaport · 1987: Fences · 1988: M. Butterfly · 1989: The Heidi Chronicles

1990s: 1990: The Grapes of Wrath · 1991: Lost in Yonkers · 1992: Dancing at Lughnasa · 1993: Angels in America: Millennium Approaches · 1994: Angels in America: Perestroika · 1995: Love! Valour! Compassion!  · 1996: Master Class · 1997: The Last Night of Ballyhoo · 1998: 'Art'  · 1999: Side Man

2000s: 2000: Copenhagen · 2001: Proof · 2002: The Goat, or, Who is Sylvia? · 2003: Take Me Out · 2004: I Am My Own Wife · 2005: Doubt · 2006: The History Boys ·
2007: The Coast of Utopia
Retrieved from "http://en.wikipedia.org/wiki/Who%27s_Afraid_of_Virginia_Woolf%3F"

Categories: 1962 plays | Edward Albee plays | Films featuring a Best Actress Academy Award winning performance | Films featuring a Best Supporting Actress Academy Award winning performance | Broadway plays | Virginia Woolf
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[Kargas]

δεν πάμε καλά λέμε!!!

[Kargas]

Who's Afraid of Virginia Wolf?

Who's Afraid of Virginia Woolf?
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Who's Afraid of Virginia Woolf?
Written by    Edward Albee
Characters    Martha
George
Nick
Honey
Date of premiere    October 13, 1962

    For the 1966 film adaptation, see Who's Afraid of Virginia Woolf? (film)

Who's Afraid of Virginia Woolf? is a play by Edward Albee that opened on Broadway at the Billy Rose Theater on October 13, 1962. The original cast featured Uta Hagen as Martha, Arthur Hill as George, Melinda Dillon as Honey and George Grizzard as Nick. It was directed by Alan Schneider. Subsequent cast members included Henderson Forsythe, Eileen Fulton, and Mercedes McCambridge, and Elaine Stritch.

Who's Afraid of Virginia Woolf? won both the 1963 Tony Award for Best Play and the 1962-63 New York Drama Critics' Circle Award for Best Play. It was also selected for the 1963 Pulitzer Prize for Drama by that award's drama jury. However, the award's advisory board — the trustees of Columbia University— objected to the play's then-controversial use of profanity and sexual themes, and overruled the award's advisory committee, and awarded no Pulitzer Prize for drama in 1963.
Contents
[hide]

    * 1 Overview
    * 2 Plot summary
          o 2.1 "Fun and Games"
          o 2.2 "Walpurgisnacht"
          o 2.3 "The Exorcism"
    * 3 2004-2007 production
    * 4 Film
    * 5 Notes
    * 6 External links
          o 6.1 Reviews

[edit] Overview

In the play, George and Martha invite a new professor and his wife to their house after a party. Martha is the daughter of the president of a university where George is an associate history professor. Nick (who is never addressed or introduced by name) is a biology professor who Martha thinks teaches math, and Honey is his mousy, brandy-abusing wife. Once at home, Martha and George continue drinking and engage in relentless, scathing verbal and sometimes physical abuse in front of Nick and Honey. Nick and Honey are simultaneously fascinated and embarrassed. They stay even though the abuse turns periodically towards them as well.

The play's title, which alludes to the novelist Virginia Woolf, is a parody of the song "Who's Afraid of the Big Bad Wolf?" from Walt Disney's animated version of The Three Little Pigs. However, since obtaining the rights to use the music of this song would have been astronomically expensive, most stage versions, and the film, have Martha sing it to the tune of "Here We Go Round the Mulberry Bush," which fits the meter fairly well and is in the public domain. It is revealed in the first few moments of the play that this little song occurred earlier in the evening, at a party , although who first sang it (Martha or some other anonymous party guest) remains unclear. Martha and George repeatedly needle each other over whether either one of them found it funny.

The idea for the play's title came to Albee from a line of graffiti he saw scrawled on a mirror in a bar.

    I was in there having a beer one night, and I saw "Who's Afraid of Virginia Woolf?" scrawled in soap, I suppose, on this mirror. When I started to write the play it cropped up in my mind again. And of course, who's afraid of Virginia Woolf means who's afraid of the big bad wolf . . . who's afraid of living life without false illusions. And it did strike me as being a rather typical, university intellectual joke.

        — Edward Albee[1]

In interviews, Albee has said that he asked Woolf's widower Leonard Woolf for permission to use her name in the title of the play. In another interview, Albee acknowledged that he based the characters of Martha and George on his good friends, New York socialites Willard Maas and Marie Menken. Maas was a professor of literature at Wagner College (one similarity between the character George and Willard) and his wife Marie was an experimental filmmaker and painter. Maas and Menken were known for their infamous salons, where drinking would "commence at 4pm on Friday and end in the wee hours of night on Monday" (according to Warhol associate and friend to Maas, Gerard Malanga). The primary conflict of Who's Afraid of Virginia Woolf? derives from Maas and Menken's tempestuous and volatile relationship.

Because of the dark, unflattering glimpse of heterosexual married life, many critics at the time suggested the play was a thinly veiled portrait of two gay couples. Albee (who himself is openly gay) has adamantly denied this, stating to a number of interviewers over the years, "If I'd wanted to write a play about two gay couples, I would have done so." Albee has refused permission to theater companies to cast all four roles with men, saying this would distort the play's meaning.

There are many darker veins running through the play's dialogue which suggest that the border between fiction and reality is continually challenged. The play ends with Martha answering the titular question of who is afraid to live their life free of illusions with, "I am, George, I am." Implicitly, exposure is something everyone fears; facade (be it social or psychological), although damaging, provides a comfort.
[edit] Plot summary

The play involves the two couples playing "games," which are savage verbal attacks against one or two of the others at the party. These games are referred to with sarcastically alliterative names: "Humiliate the Host", "Get the Guests", "Hump the Hostess", and "Bringing Up Baby".

[edit] "Fun and Games"

Martha, in the first act, "Fun and Games", taunts George. She stresses his failures, very nearly brutally, even after George reacts violently:

    Martha: ...In fact, he was sort of a ... a FLOP! A great...big...FLOP!
    [CRASH! Immediately after FLOP! George breaks a bottle against the portable bar...]
    George [almost crying]: I said stop, Martha.
    Martha: I hope that was an empty bottle, George. You don't want to waste good liquor...not on your salary.

In act two, "Walpurgisnacht", Nick and George are alone. Nick talks about his wife and her hysterical pregnancy:

    George [to Nick]: While she was up, you married her.
    Nick: And then she went down.

George tells Nick a story about a boy who shot and killed his mother accidentally, and who while learning to drive kills his father: "with his learner's permit in his pocket...swerved the car, to avoid a porcupine, and drove straight into a large tree...when they told him that his father was dead...he was put in an asylum." George tells this story early in the second act, but its echo reverberates throughout the play.

Once the wives rejoin the men, Martha begins to describe (in the face of a persistent protest from George) her husband's only novel, buried by her powerful and controlling father: "A novel about a naughty boychild...who killed his mother and his father dead." Martha continues: "Georgie said...but Sir, it isn't a novel at all...this really happened...TO ME!" The culmination of George's violent reaction to Martha's refusal to stop telling this story is to grab Martha by the throat and very nearly to strangle her. In his stage direction, Albee suggests that Nick may be making a connection between the "novel" and the story George had told him earlier.

    Nick [remembering something related]: Hey...wait a minute...

Is George the boy who "killed his mother and his father"? If so, was he lying to Nick about the asylum, or is the "asylum" instead a metaphor? Is the asylum in his mind in the home in which he and Martha subsist? Is Martha lying about the novel, or is something else afoot? What is true is not clear. This emotionally and sometimes violent scene concludes the game of "Humiliate the Host."

[edit] "Walpurgisnacht"

George is quick to retort in the next game, "Get the Guests." While Nick and George were talking earlier, Nick related the story of his and Honey's marriage. His now thoroughly drunken wife Honey realizes that George's story about "the Mousie" who "tooted brandy immodestly and spent half of her time in the upchuck", is about her and her hysterical pregnancy. She feels as if she is about to be sick and runs to the bathroom.

At the end of this scene, Martha starts to seduce Nick blatantly in the face of George. George reacts calmly, simply sitting and reading a book:

    Martha: ...I said I was necking with one of the guests...
    George: Yes, good...good for you. Which one?
    Martha: Oh, I see what you're up to, you lousy little...
    George: I'm up to page a hundred and...

At the end of the act, Honey comes out, hearing George throw his book against the door chimes in anguish, wondering who rang. This gives George an idea, and leads into the next, crucial act of the play.

[edit] "The Exorcism"

In the third act, Martha appears alone on the stage, speaking in soliloquy. Nick joins her after a while, recalling Honey in the bathroom winking at him. The doorbell rings: it is George, with a bunch of snapdragons in his hand, calling out, "Flores para los muertos" (flowers for the dead, in a reference to A Streetcar Named Desire). Martha and George argue about whether the moon is up or down (possibly a Taming of the Shrew reference): George insists it is up while Martha says she saw no moon from the bedroom. George then goes on to say how once, when he was in the Mediterranean, the moon went down and came up again. Nick asks whether this incident occurred after George killed his parents:

    George [defiantly]: Maybe.
    Martha: Yeah; maybe not, too.
    ...
    George [to Nick]: Truth and illusion. Who knows the difference...?

George asks Nick to bring his wife back out for the final game, "Bringing Up Baby." George and Martha supposedly have a son, about whom George has repeatedly instructed Martha to keep quiet. George now begins to talk about this son - "Martha...climbing all over the poor bastard, trying to break the bathroom door down to wash him in the tub when he's sixteen." Then George prompts Martha for her "recitation", in which they describe their son's upbringing in a duet:

    Martha: It was an easy birth...
    George: Oh, Martha; no. You laboured...how you laboured.
    Martha: It was an easy birth...once it had been...accepted, relaxed into.

As this tale progresses, George begins to recite sections of the Dies Irae (part of the Requiem, the Latin mass for the dead), and in the end:

    George: Martha...our son is...dead.

        [Silence.]
        He was...killed...late in the afternoon...
        [Silence.]
        [A tiny chuckle] on a country road, with his learner's permit in his pocket, he swerved, to avoid a porcupine, and drove straight into a ...

    Martha [rigid fury]: YOU...CAN'T...DO...THAT!

Supposing their son had been real, what had George done to prompt this response from Martha? The circumstances of their son's death were touched on earlier in the play in a different context.

George and Martha have created their son; he does not exist as George and Martha could not have children. George says that he "killed" their son because Martha broke their rule that she could not speak of their son to others. The play ends with George singing, "Who's afraid of Virginia Woolf?" to Martha, whereupon she replies, "I am, George... I am".

[edit] 2004-2007 production

Starting in 2004 and continuing into 2005, there was a new Broadway production of the play. The production was directed by Anthony Page and starred Kathleen Turner as Martha and Bill Irwin as George. Irwin won the 2005 Tony award for Best Actor for his role. The production was transferred to London's West End with the entire original cast, and as of March 2006 was playing at the Apollo Theatre on Shaftesbury Avenue. In January 2007, the Turner-Irwin production was performed at the John F. Kennedy Center for the Performing Arts in Washington, D.C., for a month-long run. On February 6, 2007, the production began a six-week run at the Ahmanson Theatre in Los Angeles.

Who's Afraid of Virginia Woolf? went on tour in the US and played in San Francisco at the Golden Gate Theater from April 11 to May 12, 2007. This production excluded key moments in the original production, including the moment of recognition on the part of Honey that the child at the center of the battle between George and Martha is imaginary. These exclusions arguably diminished the cathartic impact of the original text and production and the film.

The play is performed in three acts, and is a little under three hours long (1 hour, 1 hour, 40 minutes, with two 10 minute intermissions).

[edit] Film

    Main article: Who's Afraid of Virginia Woolf? (film)

A film adaptation of the play was released in 1966. It was directed by Mike Nichols and starred Elizabeth Taylor as Martha and Richard Burton as George.

Jack Valenti identifies the film as the first controversial movie he had to deal with as President of the Motion Picture Association of America (MPAA). The movie was the first to use the word "screw" and the phrase "hump the hostess" on screen. As he says, "In company with the MPAA's general counsel, Louis Nizer, I met with Jack Warner, the legendary chieftain of Warner Bros., and his top aide, Ben Kalmenson. We talked for three hours, and the result was deletion of "screw" and retention of "hump the hostess," but I was uneasy over the meeting."[2]

[edit] Notes

   1. ^ Flanagan, William. (1966, Fall). "The Art of Theater No. 4: Edward Albee", The Paris Review, Issue 39
   2. ^ Valenti, Jack. How It All Began

[edit] External links

    * Who's Afraid of Virginia Woolf? at The Internet Broadway Database

[edit] Reviews

    * Guardian review of London production 01/02/2006
    * London Theatre Guide (London 2005)
    * Anni Bruno (London 2005)

Wikiquote has a collection of quotations related to:
Who's Afraid of Virginia Woolf?
[show]
v • d • e
Plays by Edward Albee
The Zoo Story · The Death of Bessie Smith · The Sandbox · Fam and Yam · The American Dream · Who's Afraid of Virginia Woolf? · The Ballad of the Sad Cafe · Tiny Alice · Malcolm · A Delicate Balance · Everything in the Garden · Box · All Over · Seascape · Listening · Counting the Ways · The Lady From Dubuque · Lolita · The Man Who Had Three Arms · Finding the Sun · Marriage Play · Three Tall Women · The Lorca Play · Fragments · The Play About the Baby · The Goat, or, Who is Sylvia? · Occupant · Peter & Jerry
[show]
v • d • e
Tony Award for Best Play: Winners

1940s: 1948: Mister Roberts · 1949: Death of a Salesman

1950s: 1950: The Cocktail Party · 1951: The Rose Tattoo · 1952: The Fourposter · 1953: The Crucible · 1954: The Teahouse of the August Moon · 1955: The Desperate Hours · 1956: The Diary of Anne Frank · 1957: Long Day's Journey into Night · 1958: Sunrise at Campobello · 1959: J.B.

1960s: 1960: The Miracle Worker · 1961: Becket · 1962: A Man for All Seasons · 1963: Who's Afraid of Virginia Woolf? · 1964: Luther · 1965: The Subject Was Roses · 1966: Marat/Sade · 1967: The Homecoming · 1968: Rosencrantz & Guildenstern Are Dead · 1969: The Great White Hope

1970s: 1970: Borstal Boy · 1971: Sleuth · 1972: Sticks and Bones · 1973: That Championship Season · 1974: The River Niger · 1975: Equus · 1976: Travesties · 1977: The Shadow Box · 1978: Da · 1979: The Elephant Man

1980s: 1980: Children of a Lesser God · 1981: Amadeus · 1982: The Life and Adventures of Nicholas Nickleby · 1983: Torch Song Trilogy · 1984: The Real Thing · 1985: Biloxi Blues · 1986: I'm Not Rappaport · 1987: Fences · 1988: M. Butterfly · 1989: The Heidi Chronicles

1990s: 1990: The Grapes of Wrath · 1991: Lost in Yonkers · 1992: Dancing at Lughnasa · 1993: Angels in America: Millennium Approaches · 1994: Angels in America: Perestroika · 1995: Love! Valour! Compassion!  · 1996: Master Class · 1997: The Last Night of Ballyhoo · 1998: 'Art'  · 1999: Side Man

2000s: 2000: Copenhagen · 2001: Proof · 2002: The Goat, or, Who is Sylvia? · 2003: Take Me Out · 2004: I Am My Own Wife · 2005: Doubt · 2006: The History Boys ·
2007: The Coast of Utopia
Retrieved from "http://en.wikipedia.org/wiki/Who%27s_Afraid_of_Virginia_Woolf%3F"

Categories: 1962 plays | Edward Albee plays | Films featuring a Best Actress Academy Award winning performance | Films featuring a Best Supporting Actress Academy Award winning performance | Broadway plays | Virginia Woolf
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    * This page was last modified on 11 February 2008, at 06:38.
    * All text is available under the terms of the GNU Free Documentation License. (See Copyrights for details.)
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τι θες να πεις?

διάβασε ρε αγόρι μου πρώτα...

[Finrond]

Who's Afraid of Virginia Wolf?

Who's Afraid of Virginia Woolf?
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Who's Afraid of Virginia Woolf?
Written by    Edward Albee
Characters    Martha
George
Nick
Honey
Date of premiere    October 13, 1962

    For the 1966 film adaptation, see Who's Afraid of Virginia Woolf? (film)

Who's Afraid of Virginia Woolf? is a play by Edward Albee that opened on Broadway at the Billy Rose Theater on October 13, 1962. The original cast featured Uta Hagen as Martha, Arthur Hill as George, Melinda Dillon as Honey and George Grizzard as Nick. It was directed by Alan Schneider. Subsequent cast members included Henderson Forsythe, Eileen Fulton, and Mercedes McCambridge, and Elaine Stritch.

Who's Afraid of Virginia Woolf? won both the 1963 Tony Award for Best Play and the 1962-63 New York Drama Critics' Circle Award for Best Play. It was also selected for the 1963 Pulitzer Prize for Drama by that award's drama jury. However, the award's advisory board — the trustees of Columbia University— objected to the play's then-controversial use of profanity and sexual themes, and overruled the award's advisory committee, and awarded no Pulitzer Prize for drama in 1963.
Contents
[hide]

    * 1 Overview
    * 2 Plot summary
          o 2.1 "Fun and Games"
          o 2.2 "Walpurgisnacht"
          o 2.3 "The Exorcism"
    * 3 2004-2007 production
    * 4 Film
    * 5 Notes
    * 6 External links
          o 6.1 Reviews

[edit] Overview

In the play, George and Martha invite a new professor and his wife to their house after a party. Martha is the daughter of the president of a university where George is an associate history professor. Nick (who is never addressed or introduced by name) is a biology professor who Martha thinks teaches math, and Honey is his mousy, brandy-abusing wife. Once at home, Martha and George continue drinking and engage in relentless, scathing verbal and sometimes physical abuse in front of Nick and Honey. Nick and Honey are simultaneously fascinated and embarrassed. They stay even though the abuse turns periodically towards them as well.

The play's title, which alludes to the novelist Virginia Woolf, is a parody of the song "Who's Afraid of the Big Bad Wolf?" from Walt Disney's animated version of The Three Little Pigs. However, since obtaining the rights to use the music of this song would have been astronomically expensive, most stage versions, and the film, have Martha sing it to the tune of "Here We Go Round the Mulberry Bush," which fits the meter fairly well and is in the public domain. It is revealed in the first few moments of the play that this little song occurred earlier in the evening, at a party , although who first sang it (Martha or some other anonymous party guest) remains unclear. Martha and George repeatedly needle each other over whether either one of them found it funny.

The idea for the play's title came to Albee from a line of graffiti he saw scrawled on a mirror in a bar.

    I was in there having a beer one night, and I saw "Who's Afraid of Virginia Woolf?" scrawled in soap, I suppose, on this mirror. When I started to write the play it cropped up in my mind again. And of course, who's afraid of Virginia Woolf means who's afraid of the big bad wolf . . . who's afraid of living life without false illusions. And it did strike me as being a rather typical, university intellectual joke.

        — Edward Albee[1]

In interviews, Albee has said that he asked Woolf's widower Leonard Woolf for permission to use her name in the title of the play. In another interview, Albee acknowledged that he based the characters of Martha and George on his good friends, New York socialites Willard Maas and Marie Menken. Maas was a professor of literature at Wagner College (one similarity between the character George and Willard) and his wife Marie was an experimental filmmaker and painter. Maas and Menken were known for their infamous salons, where drinking would "commence at 4pm on Friday and end in the wee hours of night on Monday" (according to Warhol associate and friend to Maas, Gerard Malanga). The primary conflict of Who's Afraid of Virginia Woolf? derives from Maas and Menken's tempestuous and volatile relationship.

Because of the dark, unflattering glimpse of heterosexual married life, many critics at the time suggested the play was a thinly veiled portrait of two gay couples. Albee (who himself is openly gay) has adamantly denied this, stating to a number of interviewers over the years, "If I'd wanted to write a play about two gay couples, I would have done so." Albee has refused permission to theater companies to cast all four roles with men, saying this would distort the play's meaning.

There are many darker veins running through the play's dialogue which suggest that the border between fiction and reality is continually challenged. The play ends with Martha answering the titular question of who is afraid to live their life free of illusions with, "I am, George, I am." Implicitly, exposure is something everyone fears; facade (be it social or psychological), although damaging, provides a comfort.
[edit] Plot summary

The play involves the two couples playing "games," which are savage verbal attacks against one or two of the others at the party. These games are referred to with sarcastically alliterative names: "Humiliate the Host", "Get the Guests", "Hump the Hostess", and "Bringing Up Baby".

[edit] "Fun and Games"

Martha, in the first act, "Fun and Games", taunts George. She stresses his failures, very nearly brutally, even after George reacts violently:

    Martha: ...In fact, he was sort of a ... a FLOP! A great...big...FLOP!
    [CRASH! Immediately after FLOP! George breaks a bottle against the portable bar...]
    George [almost crying]: I said stop, Martha.
    Martha: I hope that was an empty bottle, George. You don't want to waste good liquor...not on your salary.

In act two, "Walpurgisnacht", Nick and George are alone. Nick talks about his wife and her hysterical pregnancy:

    George [to Nick]: While she was up, you married her.
    Nick: And then she went down.

George tells Nick a story about a boy who shot and killed his mother accidentally, and who while learning to drive kills his father: "with his learner's permit in his pocket...swerved the car, to avoid a porcupine, and drove straight into a large tree...when they told him that his father was dead...he was put in an asylum." George tells this story early in the second act, but its echo reverberates throughout the play.

Once the wives rejoin the men, Martha begins to describe (in the face of a persistent protest from George) her husband's only novel, buried by her powerful and controlling father: "A novel about a naughty boychild...who killed his mother and his father dead." Martha continues: "Georgie said...but Sir, it isn't a novel at all...this really happened...TO ME!" The culmination of George's violent reaction to Martha's refusal to stop telling this story is to grab Martha by the throat and very nearly to strangle her. In his stage direction, Albee suggests that Nick may be making a connection between the "novel" and the story George had told him earlier.

    Nick [remembering something related]: Hey...wait a minute...

Is George the boy who "killed his mother and his father"? If so, was he lying to Nick about the asylum, or is the "asylum" instead a metaphor? Is the asylum in his mind in the home in which he and Martha subsist? Is Martha lying about the novel, or is something else afoot? What is true is not clear. This emotionally and sometimes violent scene concludes the game of "Humiliate the Host."

[edit] "Walpurgisnacht"

George is quick to retort in the next game, "Get the Guests." While Nick and George were talking earlier, Nick related the story of his and Honey's marriage. His now thoroughly drunken wife Honey realizes that George's story about "the Mousie" who "tooted brandy immodestly and spent half of her time in the upchuck", is about her and her hysterical pregnancy. She feels as if she is about to be sick and runs to the bathroom.

At the end of this scene, Martha starts to seduce Nick blatantly in the face of George. George reacts calmly, simply sitting and reading a book:

    Martha: ...I said I was necking with one of the guests...
    George: Yes, good...good for you. Which one?
    Martha: Oh, I see what you're up to, you lousy little...
    George: I'm up to page a hundred and...

At the end of the act, Honey comes out, hearing George throw his book against the door chimes in anguish, wondering who rang. This gives George an idea, and leads into the next, crucial act of the play.

[edit] "The Exorcism"

In the third act, Martha appears alone on the stage, speaking in soliloquy. Nick joins her after a while, recalling Honey in the bathroom winking at him. The doorbell rings: it is George, with a bunch of snapdragons in his hand, calling out, "Flores para los muertos" (flowers for the dead, in a reference to A Streetcar Named Desire). Martha and George argue about whether the moon is up or down (possibly a Taming of the Shrew reference): George insists it is up while Martha says she saw no moon from the bedroom. George then goes on to say how once, when he was in the Mediterranean, the moon went down and came up again. Nick asks whether this incident occurred after George killed his parents:

    George [defiantly]: Maybe.
    Martha: Yeah; maybe not, too.
    ...
    George [to Nick]: Truth and illusion. Who knows the difference...?

George asks Nick to bring his wife back out for the final game, "Bringing Up Baby." George and Martha supposedly have a son, about whom George has repeatedly instructed Martha to keep quiet. George now begins to talk about this son - "Martha...climbing all over the poor bastard, trying to break the bathroom door down to wash him in the tub when he's sixteen." Then George prompts Martha for her "recitation", in which they describe their son's upbringing in a duet:

    Martha: It was an easy birth...
    George: Oh, Martha; no. You laboured...how you laboured.
    Martha: It was an easy birth...once it had been...accepted, relaxed into.

As this tale progresses, George begins to recite sections of the Dies Irae (part of the Requiem, the Latin mass for the dead), and in the end:

    George: Martha...our son is...dead.

        [Silence.]
        He was...killed...late in the afternoon...
        [Silence.]
        [A tiny chuckle] on a country road, with his learner's permit in his pocket, he swerved, to avoid a porcupine, and drove straight into a ...

    Martha [rigid fury]: YOU...CAN'T...DO...THAT!

Supposing their son had been real, what had George done to prompt this response from Martha? The circumstances of their son's death were touched on earlier in the play in a different context.

George and Martha have created their son; he does not exist as George and Martha could not have children. George says that he "killed" their son because Martha broke their rule that she could not speak of their son to others. The play ends with George singing, "Who's afraid of Virginia Woolf?" to Martha, whereupon she replies, "I am, George... I am".

[edit] 2004-2007 production

Starting in 2004 and continuing into 2005, there was a new Broadway production of the play. The production was directed by Anthony Page and starred Kathleen Turner as Martha and Bill Irwin as George. Irwin won the 2005 Tony award for Best Actor for his role. The production was transferred to London's West End with the entire original cast, and as of March 2006 was playing at the Apollo Theatre on Shaftesbury Avenue. In January 2007, the Turner-Irwin production was performed at the John F. Kennedy Center for the Performing Arts in Washington, D.C., for a month-long run. On February 6, 2007, the production began a six-week run at the Ahmanson Theatre in Los Angeles.

Who's Afraid of Virginia Woolf? went on tour in the US and played in San Francisco at the Golden Gate Theater from April 11 to May 12, 2007. This production excluded key moments in the original production, including the moment of recognition on the part of Honey that the child at the center of the battle between George and Martha is imaginary. These exclusions arguably diminished the cathartic impact of the original text and production and the film.

The play is performed in three acts, and is a little under three hours long (1 hour, 1 hour, 40 minutes, with two 10 minute intermissions).

[edit] Film

    Main article: Who's Afraid of Virginia Woolf? (film)

A film adaptation of the play was released in 1966. It was directed by Mike Nichols and starred Elizabeth Taylor as Martha and Richard Burton as George.

Jack Valenti identifies the film as the first controversial movie he had to deal with as President of the Motion Picture Association of America (MPAA). The movie was the first to use the word "screw" and the phrase "hump the hostess" on screen. As he says, "In company with the MPAA's general counsel, Louis Nizer, I met with Jack Warner, the legendary chieftain of Warner Bros., and his top aide, Ben Kalmenson. We talked for three hours, and the result was deletion of "screw" and retention of "hump the hostess," but I was uneasy over the meeting."[2]

[edit] Notes

   1. ^ Flanagan, William. (1966, Fall). "The Art of Theater No. 4: Edward Albee", The Paris Review, Issue 39
   2. ^ Valenti, Jack. How It All Began

[edit] External links

    * Who's Afraid of Virginia Woolf? at The Internet Broadway Database

[edit] Reviews

    * Guardian review of London production 01/02/2006
    * London Theatre Guide (London 2005)
    * Anni Bruno (London 2005)

Wikiquote has a collection of quotations related to:
Who's Afraid of Virginia Woolf?
[show]
v • d • e
Plays by Edward Albee
The Zoo Story · The Death of Bessie Smith · The Sandbox · Fam and Yam · The American Dream · Who's Afraid of Virginia Woolf? · The Ballad of the Sad Cafe · Tiny Alice · Malcolm · A Delicate Balance · Everything in the Garden · Box · All Over · Seascape · Listening · Counting the Ways · The Lady From Dubuque · Lolita · The Man Who Had Three Arms · Finding the Sun · Marriage Play · Three Tall Women · The Lorca Play · Fragments · The Play About the Baby · The Goat, or, Who is Sylvia? · Occupant · Peter & Jerry
[show]
v • d • e
Tony Award for Best Play: Winners

1940s: 1948: Mister Roberts · 1949: Death of a Salesman

1950s: 1950: The Cocktail Party · 1951: The Rose Tattoo · 1952: The Fourposter · 1953: The Crucible · 1954: The Teahouse of the August Moon · 1955: The Desperate Hours · 1956: The Diary of Anne Frank · 1957: Long Day's Journey into Night · 1958: Sunrise at Campobello · 1959: J.B.

1960s: 1960: The Miracle Worker · 1961: Becket · 1962: A Man for All Seasons · 1963: Who's Afraid of Virginia Woolf? · 1964: Luther · 1965: The Subject Was Roses · 1966: Marat/Sade · 1967: The Homecoming · 1968: Rosencrantz & Guildenstern Are Dead · 1969: The Great White Hope

1970s: 1970: Borstal Boy · 1971: Sleuth · 1972: Sticks and Bones · 1973: That Championship Season · 1974: The River Niger · 1975: Equus · 1976: Travesties · 1977: The Shadow Box · 1978: Da · 1979: The Elephant Man

1980s: 1980: Children of a Lesser God · 1981: Amadeus · 1982: The Life and Adventures of Nicholas Nickleby · 1983: Torch Song Trilogy · 1984: The Real Thing · 1985: Biloxi Blues · 1986: I'm Not Rappaport · 1987: Fences · 1988: M. Butterfly · 1989: The Heidi Chronicles

1990s: 1990: The Grapes of Wrath · 1991: Lost in Yonkers · 1992: Dancing at Lughnasa · 1993: Angels in America: Millennium Approaches · 1994: Angels in America: Perestroika · 1995: Love! Valour! Compassion!  · 1996: Master Class · 1997: The Last Night of Ballyhoo · 1998: 'Art'  · 1999: Side Man

2000s: 2000: Copenhagen · 2001: Proof · 2002: The Goat, or, Who is Sylvia? · 2003: Take Me Out · 2004: I Am My Own Wife · 2005: Doubt · 2006: The History Boys ·
2007: The Coast of Utopia
Retrieved from "http://en.wikipedia.org/wiki/Who%27s_Afraid_of_Virginia_Woolf%3F"

Categories: 1962 plays | Edward Albee plays | Films featuring a Best Actress Academy Award winning performance | Films featuring a Best Supporting Actress Academy Award winning performance | Broadway plays | Virginia Woolf
Views

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    * Discussion
    * Edit this page
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Search
 
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    * Français
    * Bahasa Indonesia
    * Italiano
    * Nederlands

Powered by MediaWiki
Wikimedia Foundation

    * This page was last modified on 11 February 2008, at 06:38.
    * All text is available under the terms of the GNU Free Documentation License. (See Copyrights for details.)
      Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a U.S. registered 501(c)(3) tax-deductible nonprofit charity.
    * Privacy policy
    * About Wikipedia
    * Disclaimers

τι θες να πεις?

διάβασε ρε αγόρι μου πρώτα...

ρε αστα αυτα
θες να καταληξεις καπου?

Ποιος ειναι ο Αnthony Page , που λεει μεσα?

[Finrond]

Who's Afraid of Virginia Wolf?

Who's Afraid of Virginia Woolf?
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Who's Afraid of Virginia Woolf?
Written by    Edward Albee
Characters    Martha
George
Nick
Honey
Date of premiere    October 13, 1962

    For the 1966 film adaptation, see Who's Afraid of Virginia Woolf? (film)

Who's Afraid of Virginia Woolf? is a play by Edward Albee that opened on Broadway at the Billy Rose Theater on October 13, 1962. The original cast featured Uta Hagen as Martha, Arthur Hill as George, Melinda Dillon as Honey and George Grizzard as Nick. It was directed by Alan Schneider. Subsequent cast members included Henderson Forsythe, Eileen Fulton, and Mercedes McCambridge, and Elaine Stritch.

Who's Afraid of Virginia Woolf? won both the 1963 Tony Award for Best Play and the 1962-63 New York Drama Critics' Circle Award for Best Play. It was also selected for the 1963 Pulitzer Prize for Drama by that award's drama jury. However, the award's advisory board — the trustees of Columbia University— objected to the play's then-controversial use of profanity and sexual themes, and overruled the award's advisory committee, and awarded no Pulitzer Prize for drama in 1963.
Contents
[hide]

    * 1 Overview
    * 2 Plot summary
          o 2.1 "Fun and Games"
          o 2.2 "Walpurgisnacht"
          o 2.3 "The Exorcism"
    * 3 2004-2007 production
    * 4 Film
    * 5 Notes
    * 6 External links
          o 6.1 Reviews

[edit] Overview

In the play, George and Martha invite a new professor and his wife to their house after a party. Martha is the daughter of the president of a university where George is an associate history professor. Nick (who is never addressed or introduced by name) is a biology professor who Martha thinks teaches math, and Honey is his mousy, brandy-abusing wife. Once at home, Martha and George continue drinking and engage in relentless, scathing verbal and sometimes physical abuse in front of Nick and Honey. Nick and Honey are simultaneously fascinated and embarrassed. They stay even though the abuse turns periodically towards them as well.

The play's title, which alludes to the novelist Virginia Woolf, is a parody of the song "Who's Afraid of the Big Bad Wolf?" from Walt Disney's animated version of The Three Little Pigs. However, since obtaining the rights to use the music of this song would have been astronomically expensive, most stage versions, and the film, have Martha sing it to the tune of "Here We Go Round the Mulberry Bush," which fits the meter fairly well and is in the public domain. It is revealed in the first few moments of the play that this little song occurred earlier in the evening, at a party , although who first sang it (Martha or some other anonymous party guest) remains unclear. Martha and George repeatedly needle each other over whether either one of them found it funny.

The idea for the play's title came to Albee from a line of graffiti he saw scrawled on a mirror in a bar.

    I was in there having a beer one night, and I saw "Who's Afraid of Virginia Woolf?" scrawled in soap, I suppose, on this mirror. When I started to write the play it cropped up in my mind again. And of course, who's afraid of Virginia Woolf means who's afraid of the big bad wolf . . . who's afraid of living life without false illusions. And it did strike me as being a rather typical, university intellectual joke.

        — Edward Albee[1]

In interviews, Albee has said that he asked Woolf's widower Leonard Woolf for permission to use her name in the title of the play. In another interview, Albee acknowledged that he based the characters of Martha and George on his good friends, New York socialites Willard Maas and Marie Menken. Maas was a professor of literature at Wagner College (one similarity between the character George and Willard) and his wife Marie was an experimental filmmaker and painter. Maas and Menken were known for their infamous salons, where drinking would "commence at 4pm on Friday and end in the wee hours of night on Monday" (according to Warhol associate and friend to Maas, Gerard Malanga). The primary conflict of Who's Afraid of Virginia Woolf? derives from Maas and Menken's tempestuous and volatile relationship.

Because of the dark, unflattering glimpse of heterosexual married life, many critics at the time suggested the play was a thinly veiled portrait of two gay couples. Albee (who himself is openly gay) has adamantly denied this, stating to a number of interviewers over the years, "If I'd wanted to write a play about two gay couples, I would have done so." Albee has refused permission to theater companies to cast all four roles with men, saying this would distort the play's meaning.

There are many darker veins running through the play's dialogue which suggest that the border between fiction and reality is continually challenged. The play ends with Martha answering the titular question of who is afraid to live their life free of illusions with, "I am, George, I am." Implicitly, exposure is something everyone fears; facade (be it social or psychological), although damaging, provides a comfort.
[edit] Plot summary

The play involves the two couples playing "games," which are savage verbal attacks against one or two of the others at the party. These games are referred to with sarcastically alliterative names: "Humiliate the Host", "Get the Guests", "Hump the Hostess", and "Bringing Up Baby".

[edit] "Fun and Games"

Martha, in the first act, "Fun and Games", taunts George. She stresses his failures, very nearly brutally, even after George reacts violently:

    Martha: ...In fact, he was sort of a ... a FLOP! A great...big...FLOP!
    [CRASH! Immediately after FLOP! George breaks a bottle against the portable bar...]
    George [almost crying]: I said stop, Martha.
    Martha: I hope that was an empty bottle, George. You don't want to waste good liquor...not on your salary.

In act two, "Walpurgisnacht", Nick and George are alone. Nick talks about his wife and her hysterical pregnancy:

    George [to Nick]: While she was up, you married her.
    Nick: And then she went down.

George tells Nick a story about a boy who shot and killed his mother accidentally, and who while learning to drive kills his father: "with his learner's permit in his pocket...swerved the car, to avoid a porcupine, and drove straight into a large tree...when they told him that his father was dead...he was put in an asylum." George tells this story early in the second act, but its echo reverberates throughout the play.

Once the wives rejoin the men, Martha begins to describe (in the face of a persistent protest from George) her husband's only novel, buried by her powerful and controlling father: "A novel about a naughty boychild...who killed his mother and his father dead." Martha continues: "Georgie said...but Sir, it isn't a novel at all...this really happened...TO ME!" The culmination of George's violent reaction to Martha's refusal to stop telling this story is to grab Martha by the throat and very nearly to strangle her. In his stage direction, Albee suggests that Nick may be making a connection between the "novel" and the story George had told him earlier.

    Nick [remembering something related]: Hey...wait a minute...

Is George the boy who "killed his mother and his father"? If so, was he lying to Nick about the asylum, or is the "asylum" instead a metaphor? Is the asylum in his mind in the home in which he and Martha subsist? Is Martha lying about the novel, or is something else afoot? What is true is not clear. This emotionally and sometimes violent scene concludes the game of "Humiliate the Host."

[edit] "Walpurgisnacht"

George is quick to retort in the next game, "Get the Guests." While Nick and George were talking earlier, Nick related the story of his and Honey's marriage. His now thoroughly drunken wife Honey realizes that George's story about "the Mousie" who "tooted brandy immodestly and spent half of her time in the upchuck", is about her and her hysterical pregnancy. She feels as if she is about to be sick and runs to the bathroom.

At the end of this scene, Martha starts to seduce Nick blatantly in the face of George. George reacts calmly, simply sitting and reading a book:

    Martha: ...I said I was necking with one of the guests...
    George: Yes, good...good for you. Which one?
    Martha: Oh, I see what you're up to, you lousy little...
    George: I'm up to page a hundred and...

At the end of the act, Honey comes out, hearing George throw his book against the door chimes in anguish, wondering who rang. This gives George an idea, and leads into the next, crucial act of the play.

[edit] "The Exorcism"

In the third act, Martha appears alone on the stage, speaking in soliloquy. Nick joins her after a while, recalling Honey in the bathroom winking at him. The doorbell rings: it is George, with a bunch of snapdragons in his hand, calling out, "Flores para los muertos" (flowers for the dead, in a reference to A Streetcar Named Desire). Martha and George argue about whether the moon is up or down (possibly a Taming of the Shrew reference): George insists it is up while Martha says she saw no moon from the bedroom. George then goes on to say how once, when he was in the Mediterranean, the moon went down and came up again. Nick asks whether this incident occurred after George killed his parents:

    George [defiantly]: Maybe.
    Martha: Yeah; maybe not, too.
    ...
    George [to Nick]: Truth and illusion. Who knows the difference...?

George asks Nick to bring his wife back out for the final game, "Bringing Up Baby." George and Martha supposedly have a son, about whom George has repeatedly instructed Martha to keep quiet. George now begins to talk about this son - "Martha...climbing all over the poor bastard, trying to break the bathroom door down to wash him in the tub when he's sixteen." Then George prompts Martha for her "recitation", in which they describe their son's upbringing in a duet:

    Martha: It was an easy birth...
    George: Oh, Martha; no. You laboured...how you laboured.
    Martha: It was an easy birth...once it had been...accepted, relaxed into.

As this tale progresses, George begins to recite sections of the Dies Irae (part of the Requiem, the Latin mass for the dead), and in the end:

    George: Martha...our son is...dead.

        [Silence.]
        He was...killed...late in the afternoon...
        [Silence.]
        [A tiny chuckle] on a country road, with his learner's permit in his pocket, he swerved, to avoid a porcupine, and drove straight into a ...

    Martha [rigid fury]: YOU...CAN'T...DO...THAT!

Supposing their son had been real, what had George done to prompt this response from Martha? The circumstances of their son's death were touched on earlier in the play in a different context.

George and Martha have created their son; he does not exist as George and Martha could not have children. George says that he "killed" their son because Martha broke their rule that she could not speak of their son to others. The play ends with George singing, "Who's afraid of Virginia Woolf?" to Martha, whereupon she replies, "I am, George... I am".

[edit] 2004-2007 production

Starting in 2004 and continuing into 2005, there was a new Broadway production of the play. The production was directed by Anthony Page and starred Kathleen Turner as Martha and Bill Irwin as George. Irwin won the 2005 Tony award for Best Actor for his role. The production was transferred to London's West End with the entire original cast, and as of March 2006 was playing at the Apollo Theatre on Shaftesbury Avenue. In January 2007, the Turner-Irwin production was performed at the John F. Kennedy Center for the Performing Arts in Washington, D.C., for a month-long run. On February 6, 2007, the production began a six-week run at the Ahmanson Theatre in Los Angeles.

Who's Afraid of Virginia Woolf? went on tour in the US and played in San Francisco at the Golden Gate Theater from April 11 to May 12, 2007. This production excluded key moments in the original production, including the moment of recognition on the part of Honey that the child at the center of the battle between George and Martha is imaginary. These exclusions arguably diminished the cathartic impact of the original text and production and the film.

The play is performed in three acts, and is a little under three hours long (1 hour, 1 hour, 40 minutes, with two 10 minute intermissions).

[edit] Film

    Main article: Who's Afraid of Virginia Woolf? (film)

A film adaptation of the play was released in 1966. It was directed by Mike Nichols and starred Elizabeth Taylor as Martha and Richard Burton as George.

Jack Valenti identifies the film as the first controversial movie he had to deal with as President of the Motion Picture Association of America (MPAA). The movie was the first to use the word "screw" and the phrase "hump the hostess" on screen. As he says, "In company with the MPAA's general counsel, Louis Nizer, I met with Jack Warner, the legendary chieftain of Warner Bros., and his top aide, Ben Kalmenson. We talked for three hours, and the result was deletion of "screw" and retention of "hump the hostess," but I was uneasy over the meeting."[2]

[edit] Notes

   1. ^ Flanagan, William. (1966, Fall). "The Art of Theater No. 4: Edward Albee", The Paris Review, Issue 39
   2. ^ Valenti, Jack. How It All Began

[edit] External links

    * Who's Afraid of Virginia Woolf? at The Internet Broadway Database

[edit] Reviews

    * Guardian review of London production 01/02/2006
    * London Theatre Guide (London 2005)
    * Anni Bruno (London 2005)

Wikiquote has a collection of quotations related to:
Who's Afraid of Virginia Woolf?
[show]
v • d • e
Plays by Edward Albee
The Zoo Story · The Death of Bessie Smith · The Sandbox · Fam and Yam · The American Dream · Who's Afraid of Virginia Woolf? · The Ballad of the Sad Cafe · Tiny Alice · Malcolm · A Delicate Balance · Everything in the Garden · Box · All Over · Seascape · Listening · Counting the Ways · The Lady From Dubuque · Lolita · The Man Who Had Three Arms · Finding the Sun · Marriage Play · Three Tall Women · The Lorca Play · Fragments · The Play About the Baby · The Goat, or, Who is Sylvia? · Occupant · Peter & Jerry
[show]
v • d • e
Tony Award for Best Play: Winners

1940s: 1948: Mister Roberts · 1949: Death of a Salesman

1950s: 1950: The Cocktail Party · 1951: The Rose Tattoo · 1952: The Fourposter · 1953: The Crucible · 1954: The Teahouse of the August Moon · 1955: The Desperate Hours · 1956: The Diary of Anne Frank · 1957: Long Day's Journey into Night · 1958: Sunrise at Campobello · 1959: J.B.

1960s: 1960: The Miracle Worker · 1961: Becket · 1962: A Man for All Seasons · 1963: Who's Afraid of Virginia Woolf? · 1964: Luther · 1965: The Subject Was Roses · 1966: Marat/Sade · 1967: The Homecoming · 1968: Rosencrantz & Guildenstern Are Dead · 1969: The Great White Hope

1970s: 1970: Borstal Boy · 1971: Sleuth · 1972: Sticks and Bones · 1973: That Championship Season · 1974: The River Niger · 1975: Equus · 1976: Travesties · 1977: The Shadow Box · 1978: Da · 1979: The Elephant Man

1980s: 1980: Children of a Lesser God · 1981: Amadeus · 1982: The Life and Adventures of Nicholas Nickleby · 1983: Torch Song Trilogy · 1984: The Real Thing · 1985: Biloxi Blues · 1986: I'm Not Rappaport · 1987: Fences · 1988: M. Butterfly · 1989: The Heidi Chronicles

1990s: 1990: The Grapes of Wrath · 1991: Lost in Yonkers · 1992: Dancing at Lughnasa · 1993: Angels in America: Millennium Approaches · 1994: Angels in America: Perestroika · 1995: Love! Valour! Compassion!  · 1996: Master Class · 1997: The Last Night of Ballyhoo · 1998: 'Art'  · 1999: Side Man

2000s: 2000: Copenhagen · 2001: Proof · 2002: The Goat, or, Who is Sylvia? · 2003: Take Me Out · 2004: I Am My Own Wife · 2005: Doubt · 2006: The History Boys ·
2007: The Coast of Utopia
Retrieved from "http://en.wikipedia.org/wiki/Who%27s_Afraid_of_Virginia_Woolf%3F"

Categories: 1962 plays | Edward Albee plays | Films featuring a Best Actress Academy Award winning performance | Films featuring a Best Supporting Actress Academy Award winning performance | Broadway plays | Virginia Woolf
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    * This page was last modified on 11 February 2008, at 06:38.
    * All text is available under the terms of the GNU Free Documentation License. (See Copyrights for details.)
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Who's Afraid of Virginia Wolf?

Who's Afraid of Virginia Woolf?
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Who's Afraid of Virginia Woolf?
Written by    Edward Albee
Characters    Martha
George
Nick
Honey
Date of premiere    October 13, 1962

    For the 1966 film adaptation, see Who's Afraid of Virginia Woolf? (film)

Who's Afraid of Virginia Woolf? is a play by Edward Albee that opened on Broadway at the Billy Rose Theater on October 13, 1962. The original cast featured Uta Hagen as Martha, Arthur Hill as George, Melinda Dillon as Honey and George Grizzard as Nick. It was directed by Alan Schneider. Subsequent cast members included Henderson Forsythe, Eileen Fulton, and Mercedes McCambridge, and Elaine Stritch.

Who's Afraid of Virginia Woolf? won both the 1963 Tony Award for Best Play and the 1962-63 New York Drama Critics' Circle Award for Best Play. It was also selected for the 1963 Pulitzer Prize for Drama by that award's drama jury. However, the award's advisory board — the trustees of Columbia University— objected to the play's then-controversial use of profanity and sexual themes, and overruled the award's advisory committee, and awarded no Pulitzer Prize for drama in 1963.
Contents
[hide]

    * 1 Overview
    * 2 Plot summary
          o 2.1 "Fun and Games"
          o 2.2 "Walpurgisnacht"
          o 2.3 "The Exorcism"
    * 3 2004-2007 production
    * 4 Film
    * 5 Notes
    * 6 External links
          o 6.1 Reviews

[edit] Overview

In the play, George and Martha invite a new professor and his wife to their house after a party. Martha is the daughter of the president of a university where George is an associate history professor. Nick (who is never addressed or introduced by name) is a biology professor who Martha thinks teaches math, and Honey is his mousy, brandy-abusing wife. Once at home, Martha and George continue drinking and engage in relentless, scathing verbal and sometimes physical abuse in front of Nick and Honey. Nick and Honey are simultaneously fascinated and embarrassed. They stay even though the abuse turns periodically towards them as well.

The play's title, which alludes to the novelist Virginia Woolf, is a parody of the song "Who's Afraid of the Big Bad Wolf?" from Walt Disney's animated version of The Three Little Pigs. However, since obtaining the rights to use the music of this song would have been astronomically expensive, most stage versions, and the film, have Martha sing it to the tune of "Here We Go Round the Mulberry Bush," which fits the meter fairly well and is in the public domain. It is revealed in the first few moments of the play that this little song occurred earlier in the evening, at a party , although who first sang it (Martha or some other anonymous party guest) remains unclear. Martha and George repeatedly needle each other over whether either one of them found it funny.

The idea for the play's title came to Albee from a line of graffiti he saw scrawled on a mirror in a bar.

    I was in there having a beer one night, and I saw "Who's Afraid of Virginia Woolf?" scrawled in soap, I suppose, on this mirror. When I started to write the play it cropped up in my mind again. And of course, who's afraid of Virginia Woolf means who's afraid of the big bad wolf . . . who's afraid of living life without false illusions. And it did strike me as being a rather typical, university intellectual joke.

        — Edward Albee[1]

In interviews, Albee has said that he asked Woolf's widower Leonard Woolf for permission to use her name in the title of the play. In another interview, Albee acknowledged that he based the characters of Martha and George on his good friends, New York socialites Willard Maas and Marie Menken. Maas was a professor of literature at Wagner College (one similarity between the character George and Willard) and his wife Marie was an experimental filmmaker and painter. Maas and Menken were known for their infamous salons, where drinking would "commence at 4pm on Friday and end in the wee hours of night on Monday" (according to Warhol associate and friend to Maas, Gerard Malanga). The primary conflict of Who's Afraid of Virginia Woolf? derives from Maas and Menken's tempestuous and volatile relationship.

Because of the dark, unflattering glimpse of heterosexual married life, many critics at the time suggested the play was a thinly veiled portrait of two gay couples. Albee (who himself is openly gay) has adamantly denied this, stating to a number of interviewers over the years, "If I'd wanted to write a play about two gay couples, I would have done so." Albee has refused permission to theater companies to cast all four roles with men, saying this would distort the play's meaning.

There are many darker veins running through the play's dialogue which suggest that the border between fiction and reality is continually challenged. The play ends with Martha answering the titular question of who is afraid to live their life free of illusions with, "I am, George, I am." Implicitly, exposure is something everyone fears; facade (be it social or psychological), although damaging, provides a comfort.
[edit] Plot summary

The play involves the two couples playing "games," which are savage verbal attacks against one or two of the others at the party. These games are referred to with sarcastically alliterative names: "Humiliate the Host", "Get the Guests", "Hump the Hostess", and "Bringing Up Baby".

[edit] "Fun and Games"

Martha, in the first act, "Fun and Games", taunts George. She stresses his failures, very nearly brutally, even after George reacts violently:

    Martha: ...In fact, he was sort of a ... a FLOP! A great...big...FLOP!
    [CRASH! Immediately after FLOP! George breaks a bottle against the portable bar...]
    George [almost crying]: I said stop, Martha.
    Martha: I hope that was an empty bottle, George. You don't want to waste good liquor...not on your salary.

In act two, "Walpurgisnacht", Nick and George are alone. Nick talks about his wife and her hysterical pregnancy:

    George [to Nick]: While she was up, you married her.
    Nick: And then she went down.

George tells Nick a story about a boy who shot and killed his mother accidentally, and who while learning to drive kills his father: "with his learner's permit in his pocket...swerved the car, to avoid a porcupine, and drove straight into a large tree...when they told him that his father was dead...he was put in an asylum." George tells this story early in the second act, but its echo reverberates throughout the play.

Once the wives rejoin the men, Martha begins to describe (in the face of a persistent protest from George) her husband's only novel, buried by her powerful and controlling father: "A novel about a naughty boychild...who killed his mother and his father dead." Martha continues: "Georgie said...but Sir, it isn't a novel at all...this really happened...TO ME!" The culmination of George's violent reaction to Martha's refusal to stop telling this story is to grab Martha by the throat and very nearly to strangle her. In his stage direction, Albee suggests that Nick may be making a connection between the "novel" and the story George had told him earlier.

    Nick [remembering something related]: Hey...wait a minute...

Is George the boy who "killed his mother and his father"? If so, was he lying to Nick about the asylum, or is the "asylum" instead a metaphor? Is the asylum in his mind in the home in which he and Martha subsist? Is Martha lying about the novel, or is something else afoot? What is true is not clear. This emotionally and sometimes violent scene concludes the game of "Humiliate the Host."

[edit] "Walpurgisnacht"

George is quick to retort in the next game, "Get the Guests." While Nick and George were talking earlier, Nick related the story of his and Honey's marriage. His now thoroughly drunken wife Honey realizes that George's story about "the Mousie" who "tooted brandy immodestly and spent half of her time in the upchuck", is about her and her hysterical pregnancy. She feels as if she is about to be sick and runs to the bathroom.

At the end of this scene, Martha starts to seduce Nick blatantly in the face of George. George reacts calmly, simply sitting and reading a book:

    Martha: ...I said I was necking with one of the guests...
    George: Yes, good...good for you. Which one?
    Martha: Oh, I see what you're up to, you lousy little...
    George: I'm up to page a hundred and...

At the end of the act, Honey comes out, hearing George throw his book against the door chimes in anguish, wondering who rang. This gives George an idea, and leads into the next, crucial act of the play.

[edit] "The Exorcism"

In the third act, Martha appears alone on the stage, speaking in soliloquy. Nick joins her after a while, recalling Honey in the bathroom winking at him. The doorbell rings: it is George, with a bunch of snapdragons in his hand, calling out, "Flores para los muertos" (flowers for the dead, in a reference to A Streetcar Named Desire). Martha and George argue about whether the moon is up or down (possibly a Taming of the Shrew reference): George insists it is up while Martha says she saw no moon from the bedroom. George then goes on to say how once, when he was in the Mediterranean, the moon went down and came up again. Nick asks whether this incident occurred after George killed his parents:

    George [defiantly]: Maybe.
    Martha: Yeah; maybe not, too.
    ...
    George [to Nick]: Truth and illusion. Who knows the difference...?

George asks Nick to bring his wife back out for the final game, "Bringing Up Baby." George and Martha supposedly have a son, about whom George has repeatedly instructed Martha to keep quiet. George now begins to talk about this son - "Martha...climbing all over the poor bastard, trying to break the bathroom door down to wash him in the tub when he's sixteen." Then George prompts Martha for her "recitation", in which they describe their son's upbringing in a duet:

    Martha: It was an easy birth...
    George: Oh, Martha; no. You laboured...how you laboured.
    Martha: It was an easy birth...once it had been...accepted, relaxed into.

As this tale progresses, George begins to recite sections of the Dies Irae (part of the Requiem, the Latin mass for the dead), and in the end:

    George: Martha...our son is...dead.

        [Silence.]
        He was...killed...late in the afternoon...
        [Silence.]
        [A tiny chuckle] on a country road, with his learner's permit in his pocket, he swerved, to avoid a porcupine, and drove straight into a ...

    Martha [rigid fury]: YOU...CAN'T...DO...THAT!

Supposing their son had been real, what had George done to prompt this response from Martha? The circumstances of their son's death were touched on earlier in the play in a different context.

George and Martha have created their son; he does not exist as George and Martha could not have children. George says that he "killed" their son because Martha broke their rule that she could not speak of their son to others. The play ends with George singing, "Who's afraid of Virginia Woolf?" to Martha, whereupon she replies, "I am, George... I am".

[edit] 2004-2007 production

Starting in 2004 and continuing into 2005, there was a new Broadway production of the play. The production was directed by Anthony Page and starred Kathleen Turner as Martha and Bill Irwin as George. Irwin won the 2005 Tony award for Best Actor for his role. The production was transferred to London's West End with the entire original cast, and as of March 2006 was playing at the Apollo Theatre on Shaftesbury Avenue. In January 2007, the Turner-Irwin production was performed at the John F. Kennedy Center for the Performing Arts in Washington, D.C., for a month-long run. On February 6, 2007, the production began a six-week run at the Ahmanson Theatre in Los Angeles.

Who's Afraid of Virginia Woolf? went on tour in the US and played in San Francisco at the Golden Gate Theater from April 11 to May 12, 2007. This production excluded key moments in the original production, including the moment of recognition on the part of Honey that the child at the center of the battle between George and Martha is imaginary. These exclusions arguably diminished the cathartic impact of the original text and production and the film.

The play is performed in three acts, and is a little under three hours long (1 hour, 1 hour, 40 minutes, with two 10 minute intermissions).

[edit] Film

    Main article: Who's Afraid of Virginia Woolf? (film)

A film adaptation of the play was released in 1966. It was directed by Mike Nichols and starred Elizabeth Taylor as Martha and Richard Burton as George.

Jack Valenti identifies the film as the first controversial movie he had to deal with as President of the Motion Picture Association of America (MPAA). The movie was the first to use the word "screw" and the phrase "hump the hostess" on screen. As he says, "In company with the MPAA's general counsel, Louis Nizer, I met with Jack Warner, the legendary chieftain of Warner Bros., and his top aide, Ben Kalmenson. We talked for three hours, and the result was deletion of "screw" and retention of "hump the hostess," but I was uneasy over the meeting."[2]

[edit] Notes

   1. ^ Flanagan, William. (1966, Fall). "The Art of Theater No. 4: Edward Albee", The Paris Review, Issue 39
   2. ^ Valenti, Jack. How It All Began

[edit] External links

    * Who's Afraid of Virginia Woolf? at The Internet Broadway Database

[edit] Reviews

    * Guardian review of London production 01/02/2006
    * London Theatre Guide (London 2005)
    * Anni Bruno (London 2005)

Wikiquote has a collection of quotations related to:
Who's Afraid of Virginia Woolf?
[show]
v • d • e
Plays by Edward Albee
The Zoo Story · The Death of Bessie Smith · The Sandbox · Fam and Yam · The American Dream · Who's Afraid of Virginia Woolf? · The Ballad of the Sad Cafe · Tiny Alice · Malcolm · A Delicate Balance · Everything in the Garden · Box · All Over · Seascape · Listening · Counting the Ways · The Lady From Dubuque · Lolita · The Man Who Had Three Arms · Finding the Sun · Marriage Play · Three Tall Women · The Lorca Play · Fragments · The Play About the Baby · The Goat, or, Who is Sylvia? · Occupant · Peter & Jerry
[show]
v • d • e
Tony Award for Best Play: Winners

1940s: 1948: Mister Roberts · 1949: Death of a Salesman

1950s: 1950: The Cocktail Party · 1951: The Rose Tattoo · 1952: The Fourposter · 1953: The Crucible · 1954: The Teahouse of the August Moon · 1955: The Desperate Hours · 1956: The Diary of Anne Frank · 1957: Long Day's Journey into Night · 1958: Sunrise at Campobello · 1959: J.B.

1960s: 1960: The Miracle Worker · 1961: Becket · 1962: A Man for All Seasons · 1963: Who's Afraid of Virginia Woolf? · 1964: Luther · 1965: The Subject Was Roses · 1966: Marat/Sade · 1967: The Homecoming · 1968: Rosencrantz & Guildenstern Are Dead · 1969: The Great White Hope

1970s: 1970: Borstal Boy · 1971: Sleuth · 1972: Sticks and Bones · 1973: That Championship Season · 1974: The River Niger · 1975: Equus · 1976: Travesties · 1977: The Shadow Box · 1978: Da · 1979: The Elephant Man

1980s: 1980: Children of a Lesser God · 1981: Amadeus · 1982: The Life and Adventures of Nicholas Nickleby · 1983: Torch Song Trilogy · 1984: The Real Thing · 1985: Biloxi Blues · 1986: I'm Not Rappaport · 1987: Fences · 1988: M. Butterfly · 1989: The Heidi Chronicles

1990s: 1990: The Grapes of Wrath · 1991: Lost in Yonkers · 1992: Dancing at Lughnasa · 1993: Angels in America: Millennium Approaches · 1994: Angels in America: Perestroika · 1995: Love! Valour! Compassion!  · 1996: Master Class · 1997: The Last Night of Ballyhoo · 1998: 'Art'  · 1999: Side Man

2000s: 2000: Copenhagen · 2001: Proof · 2002: The Goat, or, Who is Sylvia? · 2003: Take Me Out · 2004: I Am My Own Wife · 2005: Doubt · 2006: The History Boys ·
2007: The Coast of Utopia
Retrieved from "http://en.wikipedia.org/wiki/Who%27s_Afraid_of_Virginia_Woolf%3F"

Categories: 1962 plays | Edward Albee plays | Films featuring a Best Actress Academy Award winning performance | Films featuring a Best Supporting Actress Academy Award winning performance | Broadway plays | Virginia Woolf
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    * Français
    * Bahasa Indonesia
    * Italiano
    * Nederlands

Powered by MediaWiki
Wikimedia Foundation

    * This page was last modified on 11 February 2008, at 06:38.
    * All text is available under the terms of the GNU Free Documentation License. (See Copyrights for details.)
      Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a U.S. registered 501(c)(3) tax-deductible nonprofit charity.
    * Privacy policy
    * About Wikipedia
    * Disclaimers

τι θες να πεις?

διάβασε ρε αγόρι μου πρώτα...

ρε αστα αυτα
θες να καταληξεις καπου?

Ποιος ειναι ο Αnthony Page , που λεει μεσα?

η μανα σου

πολυ κλισεδουρα, πες τιποτα αλλο.
touche.

oxi den einai h mana sou, alla den mporw na eimai kai 100% sigouros

afou den ton exei h wikipedia den einai tpt simantiko  xaxaxa

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παρακαλειστε οπως πραξατε παρομοιως

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[Kargas]

brikes topic gia na apodikseis oti exeis sunidish 

βρηκες τοπικ για να αποδειξεις οτι εισαι ανορθογραφος 

emena les?

[Finrond]

brikes topic gia na apodikseis oti exeis sunidish 

βρηκες τοπικ για να αποδειξεις οτι εισαι ανορθογραφος 

emena les?

ναι.

[Turambar]

ωχ αμάν