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Edward Bond
Thomas Edward Bond (18 July 1934 – 3 March 2024) was an English playwright, theatre director, poet, dramatic theorist and screenwriter. He was the author of some 50 plays, among them Saved (1965), the production of which was instrumental in the abolition of theatre censorship in the UK. His other well-received works include Narrow Road to the Deep North (1968), Lear (1971), The Sea (1973), The Fool (1975), Restoration (1981), and the War Plays (1985). Bond was broadly considered among the major living dramatists but he has always been and remains highly controversial because of the violence shown in his plays, the radicalism of his statements about modern theatre and society, and his theories on drama.
Thomas Edward Bond was born on 18 July 1934 into a lower-working-class family in Holloway, North London. As a child during World War II he was evacuated to the countryside, but witnessed the bombings on London in 1940 and 1944. This early exposure to the violence and terror of war probably shaped themes in his work, while his experience of the evacuation gave him an awareness of social alienation which would characterise his writing.
His first contact with theatre was music-hall, where his sister used to be sawn in two in a conjuror's sideshow. At fourteen, with his class he saw a performance of Shakespeare's Macbeth by Donald Wolfit which was revelatory. He later explained that this performance was the first time he had been presented with traumatic experiences comparable to his own in a way he could apprehend and give meaning to.
At fifteen, he left school with only a very basic education, something from which he derived a deep sense of social exclusion that contributed significantly to his political orientation. Bond then educated himself, driven by an impressive eagerness for knowledge. After various jobs in factories and offices, he did his national service in the British Army occupation forces in Vienna between 1953 and 1955. During his time in the army he discovered the naked violence hidden behind normal social behaviour, and decided to start writing.
Back in London, he educated himself in theatre while working, saw everything he could on stage and exercised his skill by writing drama sketches. He was especially impressed by the performances of the Berliner Ensemble in the summer of 1956. In June 1958, after submitting two plays to the Royal Court Theatre (The Fiery Tree and Klaxon in Atreus' Place, which Bond kept unpublished in perpetuity) he was invited to join its newly formed writers' group.
After three years studying with writers his age but already well-known (like John Arden, Arnold Wesker, and Ann Jellicoe), Bond had his first real play, The Pope's Wedding, staged as a Sunday night "performance without décor" at the Royal Court Theatre in 1962. This is a falsely naturalistic drama (the title refers to "an impossible ceremony") set in contemporary Essex which shows, through a set of tragic circumstances, the death of rural society brought about by modern post-war urban living standards. Michael Mangan writes in Edward Bond that The Pope's Wedding received "mixed but predominantly friendly reviews". Bernard Levin of Daily Mail lauded it as an "astonishing tour de force", but it was criticized in The Observer as "too elliptical". Jenny S. Spencer wrote in Dramatic Strategies in the Plays of Edward Bond that the play was praised as an "auspicious beginning for a new playwright". In 1980, academic Frances Rademacher listed it among Bond's major plays. In 2014, Michael Billington praised The Pope's Wedding as a "masterly" early play.
Bond considered his plays written for France's Théâtre National and the theatre-in-education company Big Brum to be his most important works. However, Benedict Nightingale of The New York Times wrote in 2001 that most critics consider Bond's best works to have been written between 1965 and 1978. A 2011 editorial in The Guardian claimed that "his later plays have often been glibly dismissed as Marxist parables". Graham Saunders argued that in Britain he was "most associated with work produced in the period from Saved to The Sea" and that later works are seen as minor, while in France he was equally well known for newer works. In 2005, Lyn Gardiner wrote that his body of work in the previous 20 years "stands alongside his classic plays". In 2007, Peter Billingham listed the later works Restoration, The War Trilogy, Coffee, and Born among the major plays. Billington argued that "even if in his later years Bond seems to start from a position of dogmatic certainty, he retains his ability to create durable images."
Bond's play Saved (1965) became one of the best known cause célèbres in 20th-century British theatre history. Saved delves into the lives of a selection of South London working-class youths suppressed – as Bond would see it – by a brutal economic system and unable to give their lives meaning, who drift eventually into barbarous mutual violence. Among them, one character, Len, persistently (and successfully) tries to maintain links between people violently tearing each other to pieces. The play shows the social causes of violence and opposes them with individual freedom. This would remain the major theme throughout Bond's work.
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Edward Bond
Thomas Edward Bond (18 July 1934 – 3 March 2024) was an English playwright, theatre director, poet, dramatic theorist and screenwriter. He was the author of some 50 plays, among them Saved (1965), the production of which was instrumental in the abolition of theatre censorship in the UK. His other well-received works include Narrow Road to the Deep North (1968), Lear (1971), The Sea (1973), The Fool (1975), Restoration (1981), and the War Plays (1985). Bond was broadly considered among the major living dramatists but he has always been and remains highly controversial because of the violence shown in his plays, the radicalism of his statements about modern theatre and society, and his theories on drama.
Thomas Edward Bond was born on 18 July 1934 into a lower-working-class family in Holloway, North London. As a child during World War II he was evacuated to the countryside, but witnessed the bombings on London in 1940 and 1944. This early exposure to the violence and terror of war probably shaped themes in his work, while his experience of the evacuation gave him an awareness of social alienation which would characterise his writing.
His first contact with theatre was music-hall, where his sister used to be sawn in two in a conjuror's sideshow. At fourteen, with his class he saw a performance of Shakespeare's Macbeth by Donald Wolfit which was revelatory. He later explained that this performance was the first time he had been presented with traumatic experiences comparable to his own in a way he could apprehend and give meaning to.
At fifteen, he left school with only a very basic education, something from which he derived a deep sense of social exclusion that contributed significantly to his political orientation. Bond then educated himself, driven by an impressive eagerness for knowledge. After various jobs in factories and offices, he did his national service in the British Army occupation forces in Vienna between 1953 and 1955. During his time in the army he discovered the naked violence hidden behind normal social behaviour, and decided to start writing.
Back in London, he educated himself in theatre while working, saw everything he could on stage and exercised his skill by writing drama sketches. He was especially impressed by the performances of the Berliner Ensemble in the summer of 1956. In June 1958, after submitting two plays to the Royal Court Theatre (The Fiery Tree and Klaxon in Atreus' Place, which Bond kept unpublished in perpetuity) he was invited to join its newly formed writers' group.
After three years studying with writers his age but already well-known (like John Arden, Arnold Wesker, and Ann Jellicoe), Bond had his first real play, The Pope's Wedding, staged as a Sunday night "performance without décor" at the Royal Court Theatre in 1962. This is a falsely naturalistic drama (the title refers to "an impossible ceremony") set in contemporary Essex which shows, through a set of tragic circumstances, the death of rural society brought about by modern post-war urban living standards. Michael Mangan writes in Edward Bond that The Pope's Wedding received "mixed but predominantly friendly reviews". Bernard Levin of Daily Mail lauded it as an "astonishing tour de force", but it was criticized in The Observer as "too elliptical". Jenny S. Spencer wrote in Dramatic Strategies in the Plays of Edward Bond that the play was praised as an "auspicious beginning for a new playwright". In 1980, academic Frances Rademacher listed it among Bond's major plays. In 2014, Michael Billington praised The Pope's Wedding as a "masterly" early play.
Bond considered his plays written for France's Théâtre National and the theatre-in-education company Big Brum to be his most important works. However, Benedict Nightingale of The New York Times wrote in 2001 that most critics consider Bond's best works to have been written between 1965 and 1978. A 2011 editorial in The Guardian claimed that "his later plays have often been glibly dismissed as Marxist parables". Graham Saunders argued that in Britain he was "most associated with work produced in the period from Saved to The Sea" and that later works are seen as minor, while in France he was equally well known for newer works. In 2005, Lyn Gardiner wrote that his body of work in the previous 20 years "stands alongside his classic plays". In 2007, Peter Billingham listed the later works Restoration, The War Trilogy, Coffee, and Born among the major plays. Billington argued that "even if in his later years Bond seems to start from a position of dogmatic certainty, he retains his ability to create durable images."
Bond's play Saved (1965) became one of the best known cause célèbres in 20th-century British theatre history. Saved delves into the lives of a selection of South London working-class youths suppressed – as Bond would see it – by a brutal economic system and unable to give their lives meaning, who drift eventually into barbarous mutual violence. Among them, one character, Len, persistently (and successfully) tries to maintain links between people violently tearing each other to pieces. The play shows the social causes of violence and opposes them with individual freedom. This would remain the major theme throughout Bond's work.