By Robert Hogan

After the Irish Renaissance was once first released in 1967.This account of up to date Irish drama offers serious introductions to a couple thirty or 40 playwrights who've labored in eire due to the fact 1926, the 12 months Sean O’Casey left eire following a riotous protest opposed to his play The Plough and the celebs. The date is seemed via many as marking the top of the Irish Renaissance, the bright literary flowering which all started with the founding of the Irish Literary Theatre in 1898 via W. B. Yeats, George Moore, and Edward Martyn.Although a lot has been written in regards to the writers of the Irish Renaissance and their paintings, lots of the performs and playwrights of the fashionable Irish theatre are fairly imprecise outdoor eire. This e-book introduces their paintings to a broader audience.Among the writers mentioned, as well as O’Casey and Yeats, are Lennox Robinson, T. C. Murray, Brinsley MacNamara, George Shiels, Louis D’Alton, Paul Vincent Carroll, Denis Johnston, Mary Manning, Micheál Mae Liammóir, Michael Molloy, Walter Macken, Seamus Byrne, John O’Donovan, Bryan MacMahon, woman Longford, Brendan Behan, Hugh Leonard, James Douglas, John B. Keane, Brian Friel, Tom Coffey, Seamus de Burca, Conor Farrington, G. P. Gallivan, Austin Clarke, Padraie Fallon, Donagh MacDonagh, Joseph Tomelty, and Sam Thompson. the writer additionally discusses the Abbey Theatre’s fresh background, the Gate Theatre, Longford Productions, the theatre in Ulster, and the Dublin foreign Theatre competition, and offers an entire bibliography of performs and feedback. The ebook is generously illustrated with photographs.

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Extra resources for After the Irish Renaissance: A Critical History of the Irish Drama since The Plough and The Stars

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Yeats himself did not hesitate to reject Colum's patriotic play The Saxon Shilling when he thought it bad art, nor did he hesitate to keep The Playboy on the boards when the patriots were condemning it as a libel against Ireland. When a later group of patriots denounced The Plough and the Stars, it was Yeats who leapt to defend the play as a work of art. , of New York objected to the Abbey's intention of playing Synge and O'Casey on their impending American tour. Consequently, De Valera said in the Dail that he had "made representations to the Directors regarding the type of plays produced in the United States," and for several months pressure was kept up on the theatre both indirectly and in De Valera's Irish Press.

Among them, these worthy writers gave about seventyfive new plays to the Abbey, which would have made an enviable reputation for a less famous theatre. Lennox Robinson's first play, The Clancy Name, was produced by the Abbey on October 8, 1908, when Robinson was in his early twenties. Between that October day and the other October day on which he died fifty years later his association with the theatre was almost unbroken. He was its manager, one of its best directors, a member of its board, and one of its most prolific writers.

Robert Collis and Juggernaut by David Sears. Several of the more "daring" plays of the Abbey's Lennox Robinson were staged at the Gate, and it was the Gate who invited Walter Starkie to be on its board of directors after the Abbey had pushed Dr. Starkie off its own board. The most significant Abbey discovery of the 1930*5 was Paul Vincent Carroll, who once in a curtain speech at the theatre promised to submit all of his future plays first to it. However, the theatre alienated Carroll by a tactless and foolish rejection of The White Steed which went on to win the New York Drama Critics Circle award for the best foreign play of 1939.

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