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

By Robert Hogan

After the Irish Renaissance was once first released in 1967.This account of latest Irish drama presents severe introductions to a couple thirty or 40 playwrights who've labored in eire considering 1926, the yr Sean O’Casey left eire following a riotous protest opposed to his play The Plough and the celebrities. The date is looked by means of many as marking the top of the Irish Renaissance, the bright literary flowering which begun 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, lots of the performs and playwrights of the fashionable Irish theatre are rather vague open air 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, girl 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 competition, and offers a whole bibliography of performs and feedback. The booklet is generously illustrated with photographs.

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

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These plays are not Robinson's most successful, but in them he was trying to probe more deeply into character and to tap starker emotions than he did in his conventional Abbey work. Give a Dog —, for instance, is hardly risque, but its scene in which the hero and his married friend entertain two chorus girls at supper was a bit much for the Abbey. Still, it is a well worked out piece of realistic theatre, important for its idea that creative genius is often hampered by convention. , which the Abbey did produce, is less successful but still interesting.

Murray's other late work is unimportant. A Stag at Bay and A Spot in the Sun are routine exercises in one-act tragedy; Illumination is a twoact religious play with little appeal for a non-Catholic audience. Murray did not write his best work in our period, and he had a limited range. But his strong tragedies played a large part in fixing realism as the dominant Abbey manner; they also acted as a brake on the theatre's ever-present tendency to brainless farce. THE REALISTIC DRAMA OF THE ABBEY St.

O'Neill, in his useful book on Robinson, remarks that the play slips into melodrama. Apparently he is criticizing the ghost of Ulick 23 THE REALISTIC DRAMA OF THE ABBEY Alcock, the dead brother who loves Ballydonal House. The theatre, however, demands theatrical measures; on that ground the ghost seems effective in consolidating the theme and also a pleasant divergence from total realism. Actually, the period between 1918 and 1923 might have called forth much more melodrama than Robinson wrote in.

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