Critical Responses, Idols and Effect
Osborne was a great fan of Max Miller and saw parallels between them. 'I love him, (Max Miller) because he embodied a kind of theatre I admire most. 'Mary from the Dairy' was an overture to the danger that (Max) might go too far. Whenever anyone tells me that a scene or a line in a play of mine goes too far in some way then I know my instinct has been functioning as it should. When such people tell you that a particular passage makes the audience uneasy or restless, then they seem (to me) as cautious and absurd as landladies and girls-who-won't.'
Osborne's work transformed British theatre. He helped to make it artistically respected again, throwing off the formal constraints of the former generation, and turning our attention once more to language, theatrical rhetoric, and emotional intensity. He saw theatre as a weapon with which ordinary people could break down the class barriers and that he had a 'beholden duty to kick against the pricks'. He wanted his plays to be a reminder of real pleasures and real pains. David Hare said in his memorial address:
| “ | John Osborne devoted his life to trying to forge some sort of connection between the acuteness of his mind and the extraordinary power of his heart. | ” |
Osborne did change the world of theatre, influencing playwrights such as Edward Albee and Mike Leigh. However, work of his authenticity and originality would remain the exception rather than the rule. This did not surprise Osborne; nobody understood the tackiness of the theatre better than the man who had played Hamlet on Hayling Island. He was awarded a Lifetime Achievement Award from the Writer's Guild of Great Britain.
Osborne joined the Campaign for Nuclear Disarmament in 1959. However, he drifted to the libertarian, unorganized right, considering himself "a radical who hates change".
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