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

By Robert Hogan

After the Irish Renaissance used to be first released in 1967.This account of up to date Irish drama offers serious introductions to a few thirty or 40 playwrights who've labored in eire given that 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 appeared by way of many as marking the tip 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 trendy Irish theatre are rather vague outdoors eire. This publication 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 background, 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 resources for After the Irish Renaissance: A Critical History of the Irish Drama since The Plough and The Stars

Sample text

His last Abbey play, Friends and Relations, was first performed on June 30, 1941. It tells of how the friends and relations of a millionaire react to his will. Much of the play's value lies in its well-considered, twopronged theme. Ervine raises the questions of the use to which a very large sum of money should be put and of how self-sufficient and divorced from society a man ought to be. Although he avoids a direct answer to either, he also avoids a platitudinous conclusion and creates an absorbing story with well-drawn parts.

Even less successful and more satiric was the adaptation of Sheridan's The Critic, which was produced on January 6, 1931. This local and topical updating of Sheridan's play has unfortunately not been revived or published. Church Street, produced on May 21, 1934, is a long one-act, technically more striking than any other play Robinson wrote. It tells of an Irish playwright who writes unpopular plays about London society and who returns briefly to the Irish village of his birth. He is repelled by its dullness, but his aunt accuses him of being dull and suggests that the villagers embody more dramatic stories than he realizes.

But, although Robinson makes some telling hits at the expense of the ladies' tea club circuit, he also punctures the cultural pretensions of his European lecturers and shows how essentially in quest of the dollar they are. Even less successful and more satiric was the adaptation of Sheridan's The Critic, which was produced on January 6, 1931. This local and topical updating of Sheridan's play has unfortunately not been revived or published. Church Street, produced on May 21, 1934, is a long one-act, technically more striking than any other play Robinson wrote.

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