Works
| Title | Type | Year | Notes |
|---|---|---|---|
| The Devil Inside | Theatre | 1950 | with Stella Linden |
| The Great Bear | Theatre | 1951 | blank verse, never produced |
| Personal Enemy | Theatre | 1955 | with Anthony Creighton |
| Look Back in Anger | Theatre | 1956 | |
| The Entertainer | Theatre | 1957 | |
| Epitaph for George Dillon | Theatre | 1958 | with Anthony Creighton |
| The World Of Paul Slickey | Theatre | 1959 | |
| A Subject Of Scandal And Concern | TV | 1960 | |
| Luther | Theatre | 1961 | |
| Plays for England | Theatre | 1962 | |
| The Blood of the Bambergs | Theatre | 1962 | |
| Under Plain Cover | Theatre | 1962 | |
| Tom Jones | Screenplay | 1963 | |
| Inadmissible Evidence | Theatre | 1964 | |
| A Patriot for Me | Theatre | 1965 | |
| A Bond Honoured | Theatre | 1966 | One-act adaptation of Lope de Vega's La fianza satisfecha |
| The Hotel In Amsterdam | Theatre | 1968 | |
| Time Present | Theatre | 1968 | |
| The Charge of the Light Brigade | Screenplay | 1968 | |
| The Right Prospectus | TV | 1970 | |
| West Of Suez | Theatre | 1971 | |
| A Sense Of Detachment | Theatre | 1972 | |
| The Gift Of Friendship | TV | 1972 | |
| Hedda Gabler | Theatre | 1972 | Ibsen adaptation |
| A Place Calling Itself Rome | Theatre | (1973) | Coriolanus adaptation, unproduced |
| Ms, Or Jill And Jack | TV | 1974 | |
| The End Of Me Old Cigar | Theatre | 1975 | |
| The Picture Of Dorian Gray | Theatre | 1975 | Wilde adaptation |
| Almost A Vision | TV | 1976 | |
| Watch It Come Down | Theatre | 1976 | |
| Try A Little Tenderness | Theatre | (1978) | unproduced |
| Very Like A Whale | TV | 1980 | |
| You're Not Watching Me, Mummy | TV | 1980 | |
| A Better Class of Person | Book | 1981 | autobiography volume I |
| A Better Class of Person | TV | 1985 | |
| God Rot Tunbridge Wells | TV | 1985 | |
| The Father | Theatre | 1989 | Strindberg adaptation |
| Almost a Gentleman | Book | 1991 | autobiography volume II |
| Déjàvu | Theatre | 1992 |
Read more about this topic: John Osborne
Famous quotes containing the word works:
“His character as one of the fathers of the English language would alone make his works important, even those which have little poetical merit. He was as simple as Wordsworth in preferring his homely but vigorous Saxon tongue, when it was neglected by the court, and had not yet attained to the dignity of a literature, and rendered a similar service to his country to that which Dante rendered to Italy.”
—Henry David Thoreau (1817–1862)
“Any balance we achieve between adult and parental identities, between children’s and our own needs, works only for a time—because, as one father says, “It’s a new ball game just about every week.” So we are always in the process of learning to be parents.”
—Joan Sheingold Ditzion, Dennie, and Palmer Wolf. Ourselves and Our Children, by Boston Women’s Health Book Collective, ch. 2 (1978)
“Most works of art are effectively treated as commodities and most artists, even when they justly claim quite other intentions, are effectively treated as a category of independent craftsmen or skilled workers producing a certain kind of marginal commodity.”
—Raymond Williams (1921–1988)