By David L. Hirst (auth.)
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He believes that only by taking on the establishment and extending the political debate in the most public of venues can bourgeois values be challenged and conventional patterns of thought changed. Moreover, the radical nature of this tactic can be gauged by the fact that, unlike Osborne's work, Bond's plays have never transferred to the commercial West End theatre. Osborne has never been more than a rebel; Bond is essentially a revolutionary. He wants to change the world and he will employ the most effective theatrical media to do so.
Their conversation has the terseness of Pinter's dialogue, but there is absolutely no sub-text here. Indeed, the barrenness of their exchanges is a comment on the emptiness of their culture, itself a reflection of the deprivation which is characteristic of their social situation: LEN. This ain' the bedroom. 49 Edward Bond Bed ain' made. Oo's bothered? It's awful. 'Ere's nice. LEN. Suit yourself. Yer don't mind if I take me shoes off? (He kicks them off). No one 'orne? PAM. No. LEN. Live on yer tod?
There is no way out of these pessimistic reflections unless we understand that, as a whole, a community takes on the characteristic of its culture - that set of ideas and culture by which the society functions. These ideas and customs are largely laid down by the owners and rulers of society. It is the individual's response to these ideas and customs that sets the character of a society. We are not creatures of instinct but of culture. The paradox which characterises the opening of this comment is explained by the conclusion.
Edward Bond by David L. Hirst (auth.)