turning point in post-war British theatre and his character Jimmy Porter came to represent the entire generation of young men of the period.1957 The Entertainer was produced, at the Royal Court. Osborne continues to examine the society, showing the life of three generations of entertainers which symbolizes the decline of England after World War II. Epitaph for George Dillon appeared in 1958. Since that time J. Osborne has written many other plays staged by both British theatres and theatres abroad, including The World of Paul Slickey (1959) and Luther (1961), Inadmissible Evidence (1965), as well as numerous articles and autobiographical essays.Osborne died on December 24 , 1994 due to complications caused by diabetes. His literary heritage is large. Besides his works for the stage he left several autobiographical works.Back in Anger. In the years immediately after the war the best of the notably successful dramatists wrote mainly about the problems of the rich and well-to-do. Working-class characters rarely appeared and when they did, it was usually to supply comic relief. With the production of Look Back in Anger the whole situation changed.is a play about the rebellion of an educated young man of the lower classes against the contemporary society, and about loving and being loved. It was written by a young author about his own generation.most noticeable feature about this work is the presence of a dominating male hero - Jimmy Porter, an aggressive and unsuccessful university graduate. Jimmy Porter got married to Alison, a girl from a rich family whose world is alien to him. He lives in a tiny room with the pretty young woman, but he is appalled by the indifference and apathy around him.Porter is probably the best known manifestation of the angry spirit in Britain. He is also a very disagreeable hero - a self-centered bully filled with self pity, but pitiless with others. He is angry with his wife and with his mother-in-law, likewise with education, religion, love, the government and almost anything and everything that happens to come his way. He is in conflict with the world around him. People do not seem to be capable of dying for high principles and motives. Jimmy Porter s famous statement about the causes is as personally revealing as it is politically pointed: I suppose people of our generation aren ' t able to die for good causes any longer. We had all that done for us, in the thirties and the forties, when we were still kids. There aren t any good, brave causes left. If the big bang does come, and we all get killed off, it won t be in aid of the old-fashioned, grand design. It ll just be for the Brave New-nothing-very-much-thank you. About as pointless and inglorious as stepping in front of a bus. The statement expresses both political skepticism and personal frustration. It is a comment on society and a way for Jimmy to express his anger churning within him. Causes are, and always were, too abstract for people like Jimmy.Porter comes from a worker s family, but has broken from his own class and become a cultural snob (he reads only the safe classics and the Sunday Paper, likes only traditional jazz), he lives in an attic flat in a drab Midland town and makes his living by keeping a sweet stall in the market. Everything in his life dissatisfies him, and the tone of his conversation being mainly monologue is one of complaint. Jimmy doesn t act but speaks much. He hates everything and everybody. God. How I hate Sundays , he exclaims, it s always so depressing, always the same. We never seem to get any further, do we? Always the same ritual. Reading the papers, drinking tea, ironing ... Nobody thinks, nobody cares. No beliefs, no convictions and no enthusiasm. Just another Sunday evening. The principal sufferer from all this is his wife. Jimmy says that She s moved long ago into a lovely little cottage of her soul, cut right off from the ugly problems of the 20-th century altogether. She prefers to be cut off from all the conveniences we ve fought to get for centuries. When Alison s friend Helena, an actress, arrives she makes the situation intolerable by her presence and packs off Alison to her home and family. In the third act Jimmy turns out to be settled fairly happily with Helena because she stands up to him more and partly because he is not bound...
