He was one of the pioneers of the "rejuvenation" movement observed in post-war British theatre. In 1957, he was honored with the Commander Order of Britain for his services to the theatre.
(1910-1966) British theater educator, actor, and director. He was one of the pioneers of the "rejuvenation" movement observed in post-war British theatre. George Alexander Cassady Devine was born in Hendon on 20 November 1910 and died in London on 20 January 1966.
His father was a bank clerk. Devine studied modern history at Oxford University. In 1932, he appeared on stage as Mercutio in Romeo and Juliet, directed by Gielgud, who was invited by the Theater Association of this school.
George Alexander Cassady Devine CBE (20 November 1910 – 20 January 1966) was an English theatrical manager, director, teacher, and actor based in London from the early 1930s until his death. He also worked in TV and film.
Later, he left his education unfinished and went to London. He joined Motley Fool Studio as a manager. He founded the London Theater Studio in 1936 and directed it for three years.
He was assigned to Burma during World War II, in which he participated as a captain.
In 1947, he founded the Young Vic traveling theater group affiliated with the Old Vic Theater and trained young actors. Old Vic managers were unable to agree with the way the community operated and closed the Young Vic in 1952. George Devine directed plays and operas for a while at theaters such as Sadler's Wells and Covent Garden.
He was the artistic director of the English Stage Company, which he founded within the Royal Court Theater in 1956 and called it a "writers' theatre". In 1957, he was honored with the Commander Order of Britain for his services to the theatre.
At the English Stage Company, George Devine aimed to offer young playwrights the opportunities they lacked. As a member of this community, writers had the opportunity to have the play they wrote staged under the best possible conditions, while also being able to test their ideas.
Devine, who provided all these, encouraged young playwrights and pioneered the accumulation of knowledge that emerged between 1950 and 1960 to bring vitality to British theatre.