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Contents: Mixed Marriage; Jane Clegg; John Ferguson; Boyd's Shop; Friends and Relations
This study will endeavor to present, in simple and concise form, a survey of this continuous dramatic movement from its earliest recorded expression to contemporary moments under a single cover. Since to know thoroughly the dramatic output of any one period might command the industry of a lifetime, the task is a colossal one and precludes any pretense at completeness; the treatment is suggestive rather than informative, and should be supplemented by a study of the plays indicated under each section. After all, the important thing is not the painful piling of fact upon fact but gaining an intelligent working knowledge of the whole and knowing exactly where to turn for detail when it is needed. The information has been gathered from many works upon the various phases, to which the writer is deeply indebted, all of which are indicated in the bibliographies. We purpose, then, to take a sort of ''Cook's Tour'' over the whole domain of the drama, touching the main points of interest, and leaving the reader to return and explore at leisure.
A century ago this year, productions of W. B. Yeats's iThe Countess Cathleen/i and Edward Martyn's iThe Heather Field/i inaugurated the Irish Literary Theatre, which was to take its name from its home in Abbey Street, Dublin. Despite riot, fire, and critical controversy, the Abbey Theatre hashoused Ireland's National Theatre ever since: at once the catalyst and focus for the almost unprecedented renaissance of drama witnessed by Ireland in the twentieth century. This is the first history of the Abbey to discuss the plays and the personalities in their underlying historical and politicalcontext, to give due weight to the theatre's work in Irish, and to take stock of its artistic and financial development up to the present. The research for the book draws extensively on archive sources, especially the manuscript holdings on the Abbey at the National Library of Ireland.Many outstanding plays are examined, with detailed analysis of their form and their affective and emotional content; and persistent themes in the Abbey's output are identified - visions of an ideal community; the revival of Irish; the hunger for land and money; the restrictions of a societyundergoing profound change. But these are integrated with accounts of the Abbey's people, from Yeats, Martyn, and Lady Gregory, whose brainchild it was, to the actors, playwrights, directors, and managers who have followed - among them the Fays, Synge, O'Casey, Murray, Robinson, Shiels, Johnston,Murphy, Molloy, Friel, McGuiness, Deevy, Carr, and many others. The role of directors and policy-makers, and the struggle for financial security, subsidy, and new-style 'partnerships', is discussed as a crucial part of the theatre's continuing evolution.
The Oxford Handbook of Modern Irish Theatre provides the single most comprehensive survey of the field to be found in a single volume. Drawing on more than forty contributors from around the world, the book addresses a full range of topics relating to modern Irish theatre from the late nineteenth-century to the most recent works of postdramatic devised theatre. Ireland has long had an importance in the world of theatre out of all proportion to the size of the country, and has been home to four Nobel Laureates (Yeats, Shaw, and Beckett; Seamus Heaney, while primarily a poet, also wrote for the stage). This collection begins with the influence of melodrama, and looks at arguably the first modern Irish playwright, Oscar Wilde, before moving into a series of considerations of the Abbey Theatre, and Irish modernism. Arranged chronologically, it explores areas such as women in theatre, Irish-language theatre, and alternative theatres, before reaching the major writers of more recent Irish theatre, including Brian Friel and Tom Murphy, and their successors. There are also individual chapters focusing on Beckett and Shaw, as well as a series of chapters looking at design, acting, and theatre architecture. The book concludes with an extended survey of the critical literature on the field. In each chapter, the author does not simply rehearse accepted wisdom; all of the contributors push the boundaries of their respective fields, so that each chapter is a significant contribution to scholarship in its own right.
The selection of Boucicault's work in this volume stresses his consummate craft as a writer for the theatre in the age of actor-managers and melodrama. It also reminds us of that Irish verve, charm and adroitness which made him the best playwright of his generation in England and America as well as Ireland. Arguably the father of both the Irish and American drama, his characteristic plotting and taste for sensation suggest that another of his heirs was the early movie industry.
A lively and timely work about the history and politics of Ulster Protestants. The volume draws on over sixty interviews with politicians and cultural figures and focuses on ten writers whose work has reflected and challenged the views of their community.
Did Ireland produce a more radical and ambitious literature in the straitened circumstances of the first half of the twentieth century than it has managed to do since it began to ‘modernize’ and become more affluent from the 1960s onwards? Has Irish modernism ceded place to a prevailing naturalism that seems gritty and tough-minded, but that is aesthetically conservative and politically self-thwarted? Does the fixation with ‘de Valera’s Ireland’ in recent narrative represent a necessary settling of accounts with a dark, abusive history or is it indicative of a worrying inability on the part of Irish artists and intellectuals to respond to the very different predicaments of the post-Cold War world? These are some of the questions addressed in Outrageous Fortune. Scanning literature, theatre, film and music, Joe Cleary probes the connections between capital, culture and criticism in modern Ireland. He includes readings of James Joyce and the Irish modernists, the naturalists Patrick Kavanagh, John McGahern and Edna O’Brien, and comments too on what he terms the ‘neo-naturalism’ of Marina Carr, Patrick McCabe and Martin McDonagh. He concludes with a provocative analysis of the cultural achievement of the Pogues.
Hegemony and Fantasy in Irish Drama, 1899-1949 offers a theoretically innovative reconsideration of drama produced in the Irish Renaissance, as well as an engagement with non-canonical drama in the under-researched period 1926-1949.
Chris Morash's widely-praised account of Irish Theatre traces an often forgotten history leading up to the Irish Literary Revival. He then follows that history to the present by creating a remarkably clear picture of the cultural contexts which produced the playwrights who have been responsible for making Irish theatre's world-wide historical and contemporary reputation. The main chapters are each followed by shorter chapters, focusing on a single night at the theatre. This prize-winning book is an essential, entertaining and highly original guide to the history and performance of Irish theatre.
Best known as a novelist and man of letters, George Moore (1852-1933) is the author of such works as Esther Waters, A Drama in Muslin, The Untilled Field, The Brook Kerith, and his masterpiece, Hail and Farewell. Edward Martyn (1859-1923) was a distant cousin of Moore's, and, for a time, the two were close friends. Martyn, a man of considerable wealth, devoted his energies to a wide variety of activities, particularly the Church and political activism. His interest in playwriting, like Moore's, was of a secondary nature. Nevertheless, the two pooled and concentrated their talents to make important contributions at a critical juncture of the Irish literary renaissance. In 1899, aiming to provide a platform for the work of serious native dramatists, Martyn, W. B. Yeats, and Lady Gregory together founded the Irish Literary Theatre, Martyn soon brought Moore on board to lend his experience and notoriety to the venture. The great success of the Theatre's first season was Martyn's The Heather Field, republished here, which later enjoyed brief revivals in England, Germany, and the United States. Top billing in the second season was to have gone to Martyn's fast-paced, caustic satire, The Tale of the Town, but Yeats thought the play crude and not at all suitable for a serious, literary theater. When Moore reluctantly agreed, Martyn turned the play over to them to do with as they wished. Moore then rewrote it as The Bending of the Bough. Here the plays are published together for the first time. This volume also includes Moore's The Strike at Arlingford, The Passing of the Essenes, and The Coming of Gabrielle. This last is based on his correspondence with an Austrian countess he never met, and much of the dialogue in the play is taken directly from her letters. Martyn's Maeve, written for the Irish Literary Theatre, and An Enchanted Sea, a short lyrical play first produced in 1904, are also found here. The plays in this volume were selected by David B. Eakin and Michael Case, who have contributed a critical introduction. Helpful bibliographical checklists of Moore's and Martyn's works, both published and unpublished, are also included.