ဝီကီရင်းမြစ် mywikisource https://my.wikisource.org/wiki/%E1%80%97%E1%80%9F%E1%80%AD%E1%80%AF%E1%80%85%E1%80%AC%E1%80%99%E1%80%BB%E1%80%80%E1%80%BA%E1%80%94%E1%80%BE%E1%80%AC MediaWiki 1.47.0-wmf.16 first-letter မီဒီယာ အထူး ဆွေးနွေးချက် အသုံးပြုသူ အသုံးပြုသူ ဆွေးနွေးချက် ဝီကီရင်းမြစ် ဝီကီရင်းမြစ် ဆွေးနွေးချက် ဖိုင် ဖိုင် ဆွေးနွေးချက် မီဒီယာဝီကီ မီဒီယာဝီကီ ဆွေးနွေးချက် တမ်းပလိတ် တမ်းပလိတ် ဆွေးနွေးချက် အကူအညီ အကူအညီ ဆွေးနွေးချက် ကဏ္ဍ ကဏ္ဍ ဆွေးနွေးချက် မုခ်ဝ မုခ်ဝ ဆွေးနွေးချက် စာရေးသူ စာရေးသူ ဆွေးနွေးချက် ဘာသာပြန် ဘာသာပြန် ဆွေးနွေးချက် စာမျက်နှာ စာမျက်နှာ ဆွေးနွေးချက် အညွှန်း အညွှန်း ဆွေးနွေးချက် TimedText TimedText talk မော်ဂျူး မော်ဂျူး ဆွေးနွေးချက် Event Event talk 103 6448 22279 2026-08-18T15:17:04Z ~2026-45312-65 854 /* ဉီးဆောင်းအကြောင်း */ အပိုင်းသစ် 22279 wikitext text/x-wiki == ဉီးဆောင်းအကြောင်း == သင်ထောက်ကူလုပ်ရန် [[အထူး:ဆောင်ရွက်ချက်များ/~2026-45312-65|~2026-45312-65]] ([[အသုံးပြုသူ ဆွေးနွေးချက်:~2026-45312-65|talk]]) ၂၁:၄၇၊ ၁၈ ဩဂုတ် ၂၀၂၆ (+0630) allg858f1feen3g0whssnl4a9f65xnj 0 6449 22280 2026-08-19T07:26:54Z Cepyita 391 /* */ header 22280 wikitext text/x-wiki {{Header|author=Noël Coward|title=Peace in Our Time|year=1946}} 8eqvs6mkvkpvotshdg6kyn0ye5v0ymu 22281 22280 2026-08-19T07:30:10Z Cepyita 391 22281 wikitext text/x-wiki {{Header|author=Noël Coward|title=Peace in Our Time|year=1946}} *'''[[/Act I|Act I]]''' *'''[[/Act II|Act II]]''' 0lukbu7ccz74raawk3fw64tudbynucq 22289 22281 2026-08-19T08:34:27Z Cepyita 391 /* */ 22289 wikitext text/x-wiki {{Header|author=Noël Coward|title=Peace in Our Time|year=1946}} *'''[[/Introduction|Introduction]]''' *'''[[/Act I|Act I]]''' *'''[[/Act II|Act II]]''' 5fg6r3erxh1a22bcvef8wra520b4cqq 0 6450 22282 2026-08-19T07:31:33Z Cepyita 391 "{{header | title = [[../|Peace in Our Time]] | author = Noël Coward | section = Act I | previous = [[../Introduction|Introduction]] | next = [[../Act II|Act II]] | notes = }}" အစချီသော စာလုံးတို့နှင့် စာမျက်နှာကို ဖန်တီးလိုက်သည် 22282 wikitext text/x-wiki {{header | title = [[../|Peace in Our Time]] | author = Noël Coward | section = Act I | previous = [[../Introduction|Introduction]] | next = [[../Act II|Act II]] | notes = }} 3niboqpwo1ecl3luez0ub7eumjoxsmr 22283 22282 2026-08-19T07:34:51Z Cepyita 391 /* */ Add setting 22283 wikitext text/x-wiki {{header | title = [[../|Peace in Our Time]] | author = Noël Coward | section = Act I | previous = [[../Introduction|Introduction]] | next = [[../Act II|Act II]] | notes = }} ==Act I== : The time is about eight-thirty in. the evening. November, 1940. The whole action of the play takes place in a small public house situated somewbere between Knightsbridge and Sloane Square. The name of the pub is “The Shy Gazelle’. The scene throughout is the saloon bar. Looking at the scene from the audience the bar is on the left stretching from down-stage to wpstage. At the back there is a small alcove leading to the kitchen and also, by way of a staircase the end of which can just be seen, to the upper parts of the bosuse. At the back on the right there is a small door leading to a passage and the back door. In this passage are the Ladies and Gentlemen’s lavatories. On the right band wall there are two windows and, below c13rxalsz8jeis5hurfj6s52wg95kfd 22284 22283 2026-08-19T07:41:08Z Cepyita 391 /* Act I */ 22284 wikitext text/x-wiki {{header | title = [[../|Peace in Our Time]] | author = Noël Coward | section = Act I | previous = [[../Introduction|Introduction]] | next = [[../Act II|Act II]] | notes = }} ==Act I== : The time is about eight-thirty in the evening. November, 1940. The whole action of the play takes place in a small public house situated somewbere between Knightsbridge and Sloane Square. The name of the pub is “The Shy Gazelle’. The scene throughout is the saloon bar. Looking at the scene from the audience the bar is on the left stretching from down-stage to wpstage. At the back there is a small alcove leading to the kitchen and also, by way of a staircase the end of which can just be seen, to the upper parts of the house. At the back on the right there is a small door leading to a passage and the back door. In this passage are the Ladies and Gentlemen’s lavatories. On the right band wall there are two windows and, below them, the door into the street. Behind the bar downstage on the left is a window which opens into the public bar. It is a serving window and is usually open. FRED SHATTOCK, the manager of ‘The Shy Gazelle', is an amiable, gregarious man of about fifty. He was gassed slightly in the 1914—18 war and has been in the publican business since 1919 when he came out of the army and married NORA. NORA SHATTOCK is guiet but firm. She is a year or two, younger than FRED; her bair is grey and her manner efficient. Her accent betrays the fact that she could have come from nowhere in the world but South London. FRED’s accent is not quite so marked, he has read a good deal over the years and has definite views. DORIS, their daughter aged twenty-one, is a pretty girl with a quick mind. She bas been trained as a stenograpber and she helps bebind the bar in her spare time. When the curtain rises they are all three serving bebind the bar as the saloon is rather full. DORIS is downstage dealing through the service window, with unseen customers in the 'Public'. tou2pc61022uao09nckisntss5g9iw7 22285 22284 2026-08-19T07:47:45Z Cepyita 391 /* Act I */ 22285 wikitext text/x-wiki {{header | title = [[../|Peace in Our Time]] | author = Noël Coward | section = Act I | previous = [[../Introduction|Introduction]] | next = [[../Act II|Act II]] | notes = }} ==Act I== : The time is about eight-thirty in the evening. November, 1940. The whole action of the play takes place in a small public house situated somewbere between Knightsbridge and Sloane Square. The name of the pub is “The Shy Gazelle’. The scene throughout is the saloon bar. Looking at the scene from the audience the bar is on the left stretching from down-stage to wpstage. At the back there is a small alcove leading to the kitchen and also, by way of a staircase the end of which can just be seen, to the upper parts of the house. At the back on the right there is a small door leading to a passage and the back door. In this passage are the Ladies and Gentlemen’s lavatories. On the right band wall there are two windows and, below them, the door into the street. Behind the bar downstage on the left is a window which opens into the public bar. It is a serving window and is usually open. FRED SHATTOCK, the manager of ‘The Shy Gazelle', is an amiable, gregarious man of about fifty. He was gassed slightly in the 1914—18 war and has been in the publican business since 1919 when he came out of the army and married NORA. NORA SHATTOCK is guiet but firm. She is a year or two, younger than FRED; her bair is grey and her manner efficient. Her accent betrays the fact that she could have come from nowhere in the world but South London. FRED’s accent is not quite so marked, he has read a good deal over the years and has definite views. DORIS, their daughter aged twenty-one, is a pretty girl with a quick mind. She bas been trained as a stenograpber and she helps bebind the bar in her spare time. When the curtain rises they are all three serving bebind the bar as the saloon is rather full. DORIS is downstage dealing through the service window, with unseen customers in the 'Public'. : Drinking at the bar are the following people: LYIA VIVIAN, a rather spectacular looking woman of thirty-five. She is a cabaret artiste of some repute. She was born and brought up in the bunting counties and is what might be technically described as 'a lady'. Morally she was a casualty of the early 'Twenties during which hectic period she threw her bonnet over rather too many windmills. With her is GEORGE BOURNE, a pleasant looking man in the late thirties. He has been her lover sporadic-ally for two years; is well dressed, wealthy and apparently completely idle. JANET BRAID is a plainly dressed, ordinary looking woman of about forty. She has a pleasant speaking voice but one cannot help feeling that the light has gone out of her. The reason for this is that her only son Angus has recently been shot down and killed in the Battle of Britain. CHORLEY BANNISTER comes under the beading of 'Intellectual, not in the fullest sense but merely in so far as he is well read, intelligent and edits a highbrow magazine called 'Progress'. His conversation is affected and inclined to be over provocative. He is devoid of moral integrity and easily frightened. He can, however, be witty on occasions. MR. and MRS. GRAINGER, a commonplace couple, are seated at one of the tables by the window. There is also an anonymous couple-a man and woman at the bar. These are the usual customers. For various reasons, mostly geographical, they patronise 'The Shy Gazelle'. They all live within the radius of a mile or so. From time to time other unnamed customers come in to the pub, have a drink or two and go away again. There is a low buzz of general conversation. ALMA BOUGHTON comes in from the street. She is a well dressed, talkative woman in the late thirties. ALMA: Hello, Janet! JANET: Hello, Alma. ALMA (going to the bar): Good evening, Nora. Hullo, Fred. FRED: Hallo, Mrs. Boughton—I thought you weren’t coming back until Thursday. dnj5xng0ba5r2hr830ljv76wdoc86kd 22286 22285 2026-08-19T07:48:07Z Cepyita 391 /* Act I */ 22286 wikitext text/x-wiki {{header | title = [[../|Peace in Our Time]] | author = Noël Coward | section = Act I | previous = [[../Introduction|Introduction]] | next = [[../Act II|Act II]] | notes = }} ==Act I== : The time is about eight-thirty in the evening. November, 1940. The whole action of the play takes place in a small public house situated somewbere between Knightsbridge and Sloane Square. The name of the pub is “The Shy Gazelle’. The scene throughout is the saloon bar. Looking at the scene from the audience the bar is on the left stretching from down-stage to wpstage. At the back there is a small alcove leading to the kitchen and also, by way of a staircase the end of which can just be seen, to the upper parts of the house. At the back on the right there is a small door leading to a passage and the back door. In this passage are the Ladies and Gentlemen’s lavatories. On the right band wall there are two windows and, below them, the door into the street. Behind the bar downstage on the left is a window which opens into the public bar. It is a serving window and is usually open. FRED SHATTOCK, the manager of ‘The Shy Gazelle', is an amiable, gregarious man of about fifty. He was gassed slightly in the 1914—18 war and has been in the publican business since 1919 when he came out of the army and married NORA. NORA SHATTOCK is guiet but firm. She is a year or two, younger than FRED; her bair is grey and her manner efficient. Her accent betrays the fact that she could have come from nowhere in the world but South London. FRED’s accent is not quite so marked, he has read a good deal over the years and has definite views. DORIS, their daughter aged twenty-one, is a pretty girl with a quick mind. She bas been trained as a stenograpber and she helps bebind the bar in her spare time. When the curtain rises they are all three serving bebind the bar as the saloon is rather full. DORIS is downstage dealing through the service window, with unseen customers in the 'Public'. : Drinking at the bar are the following people: LYIA VIVIAN, a rather spectacular looking woman of thirty-five. She is a cabaret artiste of some repute. She was born and brought up in the bunting counties and is what might be technically described as 'a lady'. Morally she was a casualty of the early 'Twenties during which hectic period she threw her bonnet over rather too many windmills. With her is GEORGE BOURNE, a pleasant looking man in the late thirties. He has been her lover sporadic-ally for two years; is well dressed, wealthy and apparently completely idle. JANET BRAID is a plainly dressed, ordinary looking woman of about forty. She has a pleasant speaking voice but one cannot help feeling that the light has gone out of her. The reason for this is that her only son Angus has recently been shot down and killed in the Battle of Britain. CHORLEY BANNISTER comes under the beading of 'Intellectual, not in the fullest sense but merely in so far as he is well read, intelligent and edits a highbrow magazine called 'Progress'. His conversation is affected and inclined to be over provocative. He is devoid of moral integrity and easily frightened. He can, however, be witty on occasions. MR. and MRS. GRAINGER, a commonplace couple, are seated at one of the tables by the window. There is also an anonymous couple-a man and woman at the bar. These are the usual customers. For various reasons, mostly geographical, they patronise 'The Shy Gazelle'. They all live within the radius of a mile or so. From time to time other unnamed customers come in to the pub, have a drink or two and go away again. There is a low buzz of general conversation. ALMA BOUGHTON comes in from the street. She is a well dressed, talkative woman in the late thirties. ALMA: Hello, Janet! JANET: Hello, Alma. ALMA (going to the bar): Good evening, Nora. Hullo, Fred. FRED: Hallo, Mrs. Boughton—I thought you weren’t coming back until Thursday. ndm9414al31j1uvds00exyy81vypkre 22287 22286 2026-08-19T07:53:22Z Cepyita 391 /* Scene 1 */ 22287 wikitext text/x-wiki {{header | title = [[../|Peace in Our Time]] | author = Noël Coward | section = Act I | previous = [[../Introduction|Introduction]] | next = [[../Act II|Act II]] | notes = }} ==Scene 1== : The time is about eight-thirty in the evening. November, 1940. The whole action of the play takes place in a small public house situated somewbere between Knightsbridge and Sloane Square. The name of the pub is “The Shy Gazelle’. The scene throughout is the saloon bar. Looking at the scene from the audience the bar is on the left stretching from down-stage to wpstage. At the back there is a small alcove leading to the kitchen and also, by way of a staircase the end of which can just be seen, to the upper parts of the house. At the back on the right there is a small door leading to a passage and the back door. In this passage are the Ladies and Gentlemen’s lavatories. On the right band wall there are two windows and, below them, the door into the street. Behind the bar downstage on the left is a window which opens into the public bar. It is a serving window and is usually open. FRED SHATTOCK, the manager of ‘The Shy Gazelle', is an amiable, gregarious man of about fifty. He was gassed slightly in the 1914—18 war and has been in the publican business since 1919 when he came out of the army and married NORA. NORA SHATTOCK is guiet but firm. She is a year or two, younger than FRED; her bair is grey and her manner efficient. Her accent betrays the fact that she could have come from nowhere in the world but South London. FRED’s accent is not quite so marked, he has read a good deal over the years and has definite views. DORIS, their daughter aged twenty-one, is a pretty girl with a quick mind. She bas been trained as a stenograpber and she helps bebind the bar in her spare time. When the curtain rises they are all three serving bebind the bar as the saloon is rather full. DORIS is downstage dealing through the service window, with unseen customers in the 'Public'. : Drinking at the bar are the following people: LYIA VIVIAN, a rather spectacular looking woman of thirty-five. She is a cabaret artiste of some repute. She was born and brought up in the bunting counties and is what might be technically described as 'a lady'. Morally she was a casualty of the early 'Twenties during which hectic period she threw her bonnet over rather too many windmills. With her is GEORGE BOURNE, a pleasant looking man in the late thirties. He has been her lover sporadic-ally for two years; is well dressed, wealthy and apparently completely idle. JANET BRAID is a plainly dressed, ordinary looking woman of about forty. She has a pleasant speaking voice but one cannot help feeling that the light has gone out of her. The reason for this is that her only son Angus has recently been shot down and killed in the Battle of Britain. CHORLEY BANNISTER comes under the beading of 'Intellectual, not in the fullest sense but merely in so far as he is well read, intelligent and edits a highbrow magazine called 'Progress'. His conversation is affected and inclined to be over provocative. He is devoid of moral integrity and easily frightened. He can, however, be witty on occasions. MR. and MRS. GRAINGER, a commonplace couple, are seated at one of the tables by the window. There is also an anonymous couple-a man and woman at the bar. These are the usual customers. For various reasons, mostly geographical, they patronise 'The Shy Gazelle'. They all live within the radius of a mile or so. From time to time other unnamed customers come in to the pub, have a drink or two and go away again. There is a low buzz of general conversation. ALMA BOUGHTON comes in from the street. She is a well dressed, talkative woman in the late thirties. ALMA: Hello, Janet! JANET: Hello, Alma. ALMA (going to the bar): Good evening, Nora. Hullo, Fred. FRED: Hallo, Mrs. Boughton—I thought you weren’t coming back until Thursday. ALMA: I got through quicker than I expected—Leeds was awful-bitterly cold, you know they've requisitioned the Queen's, Nora? NORA: Trust them-they always go for the best hotels. FRED: The usual? ALMA: Yes please very little soda though-I'm frozen. FRED hands her a small glass of whisky. JANET: Was the train journey as bad as you thought it was going to be? ALMA: No, surprisingly good as a matter of fact-I had a carriage to myself as far as Birmingham. (She sips ber drink.) FRED: Train on time? ALMA (with a slight laugh): Of course-perfect efficiency. DORIS (at the serving window): Two mild and one rough. That'll be two and sevenpence please. MR. GRAINGER: Another port, dear? MRS. GRAINGER: No, thank you. ALMA: If I thaw in this coat I shall catch my death when I go out. (Crosses up centre and hangs coat.) MRS. GRAINGER: You have one if you want to-there's no hurry. MR. GRAINGER: I think I will at that. Make it a mild and bitter please, Mrs. Shattock. NORA: One mild and bitter. Any news of your boy? MR. GRAINGER: Yes-funnily enough we had a post card from him only this morning. NORA: One of those printed ones, I suppose? MR. GRAINGER: Yes it said he was well enough. NORA: Well, that's something to be thankful for, isn't it? MR. GRAINGER: It certainly is, Mrs. Shattock. MAN: Good night, Mrs. Shattock. MAN and WOMAN exit. LYIA: What's the time, George? GEORGE (glancing at his wrist watch): Quarter to. LYIA: Time for one more before I give my all to my fas-cigating public. GEORGE: Two more, please, Fred. k8q8p2qqszvgb2vn89fz3l3zl7zv835 0 6451 22288 2026-08-19T08:33:37Z Cepyita 391 "==Foreword== Peace in Our Time is another war play about an occupied country. In it there are mixed many familiar ingredients: collaborators, Gestapo agents, secret Resistance groups, oppression, and torture. The one thing, however, that differen-tiates it from other works on the same theme is the fact that the occupied country in question..." အစချီသော စာလုံးတို့နှင့် စာမျက်နှာကို ဖန်တီးလိုက်သည် 22288 wikitext text/x-wiki ==Foreword== Peace in Our Time is another war play about an occupied country. In it there are mixed many familiar ingredients: collaborators, Gestapo agents, secret Resistance groups, oppression, and torture. The one thing, however, that differen-tiates it from other works on the same theme is the fact that the occupied country in question happens to be Eng-land, which has been neither invaded nor occupied by an enemy nation for eight hundred years. This initial premise makes an arbitrary demand on the imagination of any play-goer who sees it and any reader who reads it. The play was written in the spring of 1947 but the idea of it had lain in my mind for some time, actually since 1945, when I visited France soon after the liberation. Almost immediately upon my arrival in Paris I found my-self in a delicate and embarrassing position regarding many of my French theatrical colleagues. There was unease and tension in the atmosphere and a great deal of gossip and argument on all sides about who had collaborated and who hadn't; who had been passive; who had been active; who had been concerned with the Resistance; who had been moderate; who had been pro-British and who had been anti, etc. All of this was interesting, tragic, and extremely confusing because none of the stories seemed to tally. I was warned not to be seen talking to Monsieur So and So be-cause he had been on terms of the greatest friendliness with Goering and had denounced numbers of Resistance mem-bers to the Gestapo. Then in the course of the same day somebody would say that that same Monsieur So and So had behaved with the utmost integrity and was above reproach and that Mademoiselle Tel and Tel (who had explained to me about Monsieur So and So) had conducted herself with contemptible abandon and welcomed the Germans into Paris on a bicycle! There were, of course, a series of "Exoneration" trials. Famous actors and actresses, music-hall stars, and cabaret artists were hauled up before tribunals and accused and vilified or praised and acquitted, but no one seemed abso-lutely sure which had been which. The famous names, of course, came in for much more mudslinging than the lesser-known members of the profession, and it was fairly obvious to me, a visiting Britisher, that there were a great many private envies and enmities being gratified and a great many cruel and unjust allegations made on a basis of malicious hearsay rather than proven fact. A little later, when I returned to England, I started a private game with a few of my intimate friends. This game was a hypothetical discussion of what would have hap-pened to the English theatre and our associates in it if, in the autumn of 1940, the Battle of Britain had been lost in-stead of won and our country had been invaded and occu-pied by the Germans. It was a cruel little game and for-tunately no word of it was ever recorded, but it did serve a purpose because it gave me the idea of writing a play about the occupation of England. I chose the setting of a London public house because it seemed to me that only in such a deep-rooted institution as a British "pub" could I assemble together enough varied and representative types to illustrate my theme. Peace in Our Time opened in London in July 1947 and re-ceived a tremendous ovation from the first-night audience. The press reviews were mixed. Some critics, the more in-telligent ones, were enthusiastic. Others, less intelligent, were patronizing, and some, beyond the pale, didn't care for it at all. However, the play ran for over five months and would, I believe, have run for much longer but for two factors. One of these was the size of the cast, which made it essential to play to a fairly high figure weekly in order to break even. The other was the fact that the British public was not in the mood to see a play that dealt with war or anything to do with it. The British people, understandably enough, wanted to be entertained lightly and gaily when they went to the theatre. They wanted neither to be reminded of the horrors they had endured nor to be harrowed by the horrors they might have endured. This, I think, would also apply to the playgoers of America and is one of the reasons why there have been no arrangements made as yet for the play to be presented in New York. Another reason is ex-pense. The only way to present the play properly to American audiences would be to assemble a cast, rehearse it, try it out in England, and then bring the whole production over intact. This would mean the transportation of more than forty people, including stage management and under-studies. The financial cost of such an enterprise, taking into account the possibility that it might only be a moderate suc-cess or even a flop, would be too prohibitive to justify the risk. On the other hand, we could, always providing that Equity was agreeable, bring over seven or eight principal actors, and cast and rehearse the others in New York. This, on the face of it, would be a workable proposition but for one insuperable obstacle: the uncompromising rigidity of American theatre trade unions. The action of Peace in Our Time is laid in one set only and that set is the barroom of an ordinary public house in London. But the swiftness and smooth running of the play depend upon the meticulous handling of "props" and furniture by the actors. In the English production we rehearsed from the first day in the actual set. The bar and the bar stools, the glasses, bottles, cigarettes, ash trays, etc., were all in place so that the actors, by the time we reached our opening night in Brighton, knew exactly how to co-ordinate their dialogue with their props and business. The result was an unflurried and expert performance. In the American theatre this kind of production would be out of the question. It is against union rules to engage a skeleton staff, or even heads of departments, for rehearsals. None of the actual furniture or properties can be used with-out the employment of a full staff, and the cost of this would naturally be so crippling to a production that no manage-ment could be expected to pay it. This frustrating situation which has arisen from over preoccupation with the theatre as a trade and not enough preoccupation with it as an art will, I imagine, ultimately reduce the living drama to a status of third or fourth importance in the sphere of enter-tainment. This thought is, of course, intolerable to those of us who belong to the theatre and love it deeply and truly, for the living drama is fundamentally an art, an inter-national art, and it should not be allowed, in spite of modern trends and political upheavals, to degenerate into competi-tive national trade unionism. Peace in Our Time is not so good a play as I would have liked it to be, but within its limits I am proud of it. Certain American readers may shudder irritably here and there at some of its unabashed patriotism, but perhaps they will be tolerant of it if they imagine for a moment their own feel-ings were America placed in the same tragic situation. At all events I hope that one day, when circumstances permit, I shall be able to do an American production of it. Nearly all plays are better played than read and this one is no exception to the rule. However, having written this foreword in the hope that there are enough Americans who are interested in my work to justify the publication of an unproduced play, I hereby hand it to them hopefully and gratefully. g4om7p11b86f1d30glwii6e7shz77lw