Works
| Title | Type | Year | Notes |
|---|---|---|---|
| The Devil Inside | Theatre | 1950 | with Stella Linden |
| The Great Bear | Theatre | 1951 | blank verse, never produced |
| Personal Enemy | Theatre | 1955 | with Anthony Creighton |
| Look Back in Anger | Theatre | 1956 | |
| The Entertainer | Theatre | 1957 | |
| Epitaph for George Dillon | Theatre | 1958 | with Anthony Creighton |
| The World Of Paul Slickey | Theatre | 1959 | |
| A Subject Of Scandal And Concern | TV | 1960 | |
| Luther | Theatre | 1961 | |
| Plays for England | Theatre | 1962 | |
| The Blood of the Bambergs | Theatre | 1962 | |
| Under Plain Cover | Theatre | 1962 | |
| Tom Jones | Screenplay | 1963 | |
| Inadmissible Evidence | Theatre | 1964 | |
| A Patriot for Me | Theatre | 1965 | |
| A Bond Honoured | Theatre | 1966 | One-act adaptation of Lope de Vega's La fianza satisfecha |
| The Hotel In Amsterdam | Theatre | 1968 | |
| Time Present | Theatre | 1968 | |
| The Charge of the Light Brigade | Screenplay | 1968 | |
| The Right Prospectus | TV | 1970 | |
| West Of Suez | Theatre | 1971 | |
| A Sense Of Detachment | Theatre | 1972 | |
| The Gift Of Friendship | TV | 1972 | |
| Hedda Gabler | Theatre | 1972 | Ibsen adaptation |
| A Place Calling Itself Rome | Theatre | (1973) | Coriolanus adaptation, unproduced |
| Ms, Or Jill And Jack | TV | 1974 | |
| The End Of Me Old Cigar | Theatre | 1975 | |
| The Picture Of Dorian Gray | Theatre | 1975 | Wilde adaptation |
| Almost A Vision | TV | 1976 | |
| Watch It Come Down | Theatre | 1976 | |
| Try A Little Tenderness | Theatre | (1978) | unproduced |
| Very Like A Whale | TV | 1980 | |
| You're Not Watching Me, Mummy | TV | 1980 | |
| A Better Class of Person | Book | 1981 | autobiography volume I |
| A Better Class of Person | TV | 1985 | |
| God Rot Tunbridge Wells | TV | 1985 | |
| The Father | Theatre | 1989 | Strindberg adaptation |
| Almost a Gentleman | Book | 1991 | autobiography volume II |
| Déjàvu | Theatre | 1992 |
Read more about this topic: John Osborne
Famous quotes containing the word works:
“Only the more uncompromising of the mystics still seek for knowledge in a silent land of absolute intuition, where the intellect finally lays down its conceptual tools, and rests from its pragmatic labors, while its works do not follow it, but are simply forgotten, and are as if they never had been.”
—Josiah Royce (1855–1916)
“Most works of art are effectively treated as commodities and most artists, even when they justly claim quite other intentions, are effectively treated as a category of independent craftsmen or skilled workers producing a certain kind of marginal commodity.”
—Raymond Williams (1921–1988)
“The works of women are symbolical.
We sew, sew, prick our fingers, dull our sight,
Producing what? A pair of slippers, sir,
To put on when you’re weary or a stool
To stumble over and vex you ... “curse that stool!”
Or else at best, a cushion, where you lean
And sleep, and dream of something we are not,
But would be for your sake. Alas, alas!
This hurts most, this ... that, after all, we are paid
The worth of our work, perhaps.”
—Elizabeth Barrett Browning (1806–1861)