Titlebook: Experimental Irish Theatre; After W.B. Yeats Ian R. Walsh Book 2012 Palgrave Macmillan, a division of Macmillan Publishers Limited 2012 bib

載貨清單

Experiments in Representation,rompted Vivian Mercier to write that he ‘effectively came’ from Sligo (Mercier 1990: 20). Certainly Sligo had a profound effect on him and wherever he lived he remained in love with the county (Yeats 1971: 24).

苦笑

Experiments in Theatre: Maurice Meldon, timing and Meldon proved unfortunate in this, sharing his era with the emergence of two theatrical giants of the Irish canon, Brendan Behan and Samuel Beckett. Seamus Kelly, the leading theatre critic for the ., wrote in 1956:

Recessive

Experiments in Verse,having ‘a(chǎn) riotousness of imagination’ and being written in verse, are not poetic dramas. Denis Donoghue, in his seminal book on verse drama, The Third Voice , clearly distinguishes between the ‘verse-play’, which is for him a purely technical term, and the ‘poetic play’, as follows:

fulmination

Brittle

白楊魚

袖章

Introduction, of fourteen years exists in their proposed tradition from the death of Yeats in 1939 to the premiere of Beckett’s En . in 1953. It follows that the plays of this period have been written out of a reading of a linear chronological tradition of modern Irish drama. This study examines the experimental

混合物

Atmosphere

myalgia

Jeremy R. Porter,Frank M. HowellThis chapter is concerned with a comedy, ., written by a woman, Elizabeth Connor. In this comedy the playwright not only reveals the conventions of the play but also reworks them to her own ends. Consequently, this is a study of just such a play as Alisa Solomon speaks of in the quote above as ‘brazenly parading around in its underwear’.