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Ah, what can God do agen the stupidity o' men! Dublin, 1922. The Irish Civil War is tearing the nation apart. In the cauldron of the family's tiny tenement flat, Juno Boyle, a beleaguered matriarch whose sharp wit is a survival tool, struggles to make ends meet and keep the family together. Her husband, 'Captain' Jack Boyle, fancies himself a ship's commander but sails no further than the pub. Then providence comes knocking with news of a great inheritance. Sean O'Casey's tragicomic masterpiece was first performed at the Abbey Theatre, Dublin, in 1924, and revived at the Gielgud Theatre, London, in September 2024. 'The power of Juno and the Paycock never fails to surprise and enthral and inspire. Its violent passion, its deep humanity, its bubbling humour and its appalling tragedy are soaked in the very spirit of Ireland itself.' Daily Mail
Ah, what can God do agen the stupidity o' men! Dublin, 1922. The Irish Civil War is tearing the nation apart. In the cauldron of the family's tiny tenement flat, Juno Boyle, a beleaguered matriarch whose sharp wit is a survival tool, struggles to make ends meet and keep the family together. Her husband, 'Captain' Jack Boyle, fancies himself a ship's commander but sails no further than the pub. Then providence comes knocking with news of a great inheritance. Sean O'Casey's tragicomic masterpiece was first performed at the Abbey Theatre, Dublin, in 1924, and revived at the Gielgud Theatre, London, in September 2024. 'The power of Juno and the Paycock never fails to surprise and enthral and inspire. Its violent passion, its deep humanity, its bubbling humour and its appalling tragedy are soaked in the very spirit of Ireland itself.' Daily Mail
The shadow of a gunman - Juno and the paycock - The plough and the stars - The silver Tassie - Red roses for me - Cock-a-doodle dandy - The bishop's bonfire.
This volume contains the three plays commonly recognized as the height of O'Casey's achievement as a playwright. His tragi-comedy has relevance to the violent politics in the North and the post-nationalist bewilderments in the Republic.
A large number of critics who have tried to penetrate the complexity of Sean O'Casey's theatrical works have been fighting against a matter which seems to reject every easy outline and label. They seem to be shaped by a deep will to experiment which leads the author to embrace theatrical forms and techniques very different from each other. This is why almost all of his plays appear full of contradictory elements and tendencies, traumatic breaks and bold innovations. After his "explosion" at the Abbey Theatre of Dublin with the vigorous realism of his trilogy, O'Casey abandons this reassuring haven – it was probably too reassuring for his restlessness – and begins his collection of "experimental" plays, starting with The Silver Tassie (1929) and going on with Within the Gates (1910), The Star Turns Red, 1940, Red Roses For Me (1912)...
This new collection of writings on Alfred Hitchcock considers Hitchcock both in his time and as a continuing influence on filmmakers, films and film theory. The contributions, who include leading scholars such as Slavoj Zizek, Laura Mulvey, Peter Wollen, and James Naremore, discuss canonical films such as Notorious and The Birds alongside lesser-known works including Juno and the Paycock and Frenzy. Articles are grouped into four thematic sections: 'Authorship and Aesthetics' examines Hitchcock as auteur and investigates central topics in Hitchcockian aesthetics. 'French Hitchcock' looks at Hitchcock's influence on filmmakers such as Chabrol, Truffaut and Rohmer, and how film critics such as Bazin and Deleuze have engaged with Hitchcock's work. 'Poetics and Politics of Identity' explores the representation of personal and political in Hitchcock's work. The final section, 'Death and Transfiguration' addresses the manner in which the spectacle and figuration of death haunts the narrative universe of Hitchcock's films, in particular his subversive masterpiece Psycho.