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After the Irish Renaissance: A Critical History of the Irish by Robert Hogan

By Robert Hogan

After the Irish Renaissance was once first released in 1967.This account of up to date Irish drama presents severe introductions to a few thirty or 40 playwrights who've labored in eire in view that 1926, the 12 months Sean O’Casey left eire following a riotous protest opposed to his play The Plough and the celebrities. The date is seemed by means of many as marking the tip of the Irish Renaissance, the intense literary flowering which started with the founding of the Irish Literary Theatre in 1898 by means of 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, many of the performs and playwrights of the fashionable Irish theatre are particularly imprecise outdoor eire. This booklet 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 contemporary historical past, the Gate Theatre, Longford Productions, the theatre in Ulster, and the Dublin foreign Theatre pageant, and gives an entire bibliography of performs and feedback. The e-book is generously illustrated with photographs.

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

Example text

The problem, however, is that tragedy requires a richness of texture which The Karavoes lacks. If the author's caution had not led him to put his explosive fable in faraway Hungary, if he had set it in the peasant Ireland that he knew, and if he had written it in the rich peasant idiom that he could fluently command, then he might have written a tragedy instead of only a very actable melodrama. A Flutter of Wings caused a flutter of surprise among Murray's friends, for it was his first Abbey rejection after twenty years of writing for the theatre.

I myself am not an apologist for Blythe; I think his directorship is largely responsible for the theatre's deterioration. But some criticisms of his policy have been motivated by those typically Dublinish qualities of spleen and envy, and the pamphlet makes clear that there are points in his favor. He did engineer the government subsidy, and he has helped to increase that subsidy until it is now ten times what it once was. He also kept the Abbey going in its long, commercially difficult exile in Pearse Street; when he talks of the commercial necessities of the theatre he knows more what he is talking about than do most of his critics.

The witty savagery of this continuing onslaught may have risen partly from the Irish climate which seems conducive to spleen, partly from the theatre's occasional improbable standards of excellence, and partly from a bored irritation with plays which, despite their frequent merit, often resembled each other. Actually, that resemblance was sometimes more apparent than real. It seemed real because of the actors' unvaryingly broad manner of playing. A sophisticated comedy by Lennox Robinson and a dour drama by George Shiels were both likely to come across the footlights as broad farce.

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