The Only One with a Nobel Prize and an Oscar
On July 26, the 170th anniversary of the birth of George Bernard Shaw is observed – one of the most influential figures in world literature and theater. The Irish playwright, critic, and public figure is unique in art history as the only creator to be simultaneously honored with the Nobel Prize in Literature (1925) and an Oscar film award (1939) for the screenplay of "Pygmalion."
Shaw, born in 1856 in Dublin to a poor Protestant family, became a classic example of a self-educated intellectual. Despite the lack of formal academic education, he accumulated extensive knowledge in philosophy, economics, and history through reading in the British Museum libraries. After moving to London in 1876, he transitioned from unsuccessful attempts at novelistic prose to playwriting, which became his true calling.
Paradox as a Tool for Change
Shaw's body of work, spanning over 60 plays, is marked by wit, satire, and the use of paradoxes to reveal class hypocrisy. His works such as "Pygmalion," "Widowers' Houses," "Mrs. Warren's Profession," and "Major Barbara" analyze the social differences, economic exploitation, and political structures of his time.
In addition to being a writer, he was an active social reformer and a member of the Fabian Society, which aimed for evolutionary democratic changes. His specific style of dialogue and sarcastic humor even gave name to a new literary term – "Shavianism."
The Clash with "Arms and the Man" in Bulgaria
Shaw's work has a specific and sometimes controversial connection to Bulgaria through the anti-war comedy "Arms and the Man" (1894). The play, which mocks the romanticization of war, is often staged in the context of the Serbo-Bulgarian War to achieve greater realism.
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In 2024, the version of the play staged by American director John Malkovich at the Ivan Vazov National Theatre sparked sharp public debates and protests. The reason for the dispute is the way Shaw describes Bulgarian life at the end of the 19th century. While some critics define the play as an anti-Bulgarian mockery, literary experts defend that the author uses caricature universally to expose human vanity, rather than a specific nation.