By Robert Bolt
A guy for All Seasons dramatises the clash among King Henry VIII and Sir Thomas extra. It depicts the disagreement among church and kingdom, theology and politics, absolute energy and person freedom. in the course of the play Sir Thomas More's eloquence and persistence, his purity, saintliness and tenacity within the face of ever-growing threats to his ideals and kin, earn him prestige as one in all smooth drama's maximum tragic heroes.
The play was once first staged in 1960 on the Globe Theatre in London and used to be voted New York's most sensible international Play in 1962. In 1966 it used to be made into an Academy Award-winning movie via Fred Zinneman starring Paul Scofield."A guy for All Seasons is a stark play, sparse in its narrative, sinewy in its writing, which confirms Mr Bolt as a real and stable playwright, a strength in our awakening theatre." (Daily Mail)
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Additional info for A Man For All Seasons
Margaret – hot water. Exit Margaret. More I’m sorry you were awakened, chick. Alice I wasn’t sleeping very deeply, Thomas – what did Wolsey want? More (innocent) Young Roper asked for Margaret. Alice What! Impudence! More Yes, wasn’t it? Alice Old fox! What did he want, Thomas? More He wanted me to read a dispatch. Alice Was that all? More A Latin dispatch. Alice Oh! Won’t you talk about it? More (gently) No. Enter Margaret with cup which she takes to More. Alice Norfolk was speaking for you as Chancellor before he left.
During the last part of the speech, voices off. Now, enter, at head of stairs, Sir Thomas More. Steward That’s Sir Thomas More. More The wine please, Matthew? Steward It’s there, Sir Thomas. More (looking into jug) Is it good? Steward Bless you, sir! I don’t know. More (mildly) Bless you too, Matthew. Enter Rich at head of stairs. Rich (enthusiastically pursuing an argument) But every man has his price! Steward (contemptuous) Master Richard Rich. Rich But yes! In money too. More (gentle impatience) No no no.
Of course it’s much less effective now that for most of us the actual words of the oath are not much more than impressive mumbo-jumbo than it was when they made obvious sense; we would prefer most men to guarantee their statements with, say, cash rather than with themselves. We feel – we know – the self to be an equivocal commodity. There are fewer and fewer things which, as they say, we ‘cannot bring ourselves’ to do. We can find almost no limits for ourselves other than the physical, which being physical are not optional.