This Critical Companion to the work of one of Ireland's most famous and controversial playwrights, Sean O'Casey, is the first major study of the playwright's work to consider his oeuvre and the archival material that has appeared during the last decade. Published ahead of the centenary of the 1916 Easter Rising in Ireland with which O'Casey's most famous plays are associated, it provides a clear and detailed study of the work in context and performance. James Moran shows that O'Casey not only remains the most performed playwright at Ireland's national theatre, but that the playwright was also one of the most controversial and divisive literary figures, whose work caused riots and who alienated many of his supporters. Since the start of the 'Troubles' in the North of Ireland, his work has been associated with Irish historical revisionism, and has become the subject of debate about Irish nationalism and revolutionary history. Moran's admirably clear study considers the writer's plays, autobiographical writings and essays, paying special attention to the Dublin trilogy, The Shadow of a Gunman, Juno and the Paycock, and The Plough and the Stars. It considers the work produced in exile, during the war and the late plays. The Companion also features a number of interviews and essays by other leading scholars and practitioners, including Garry Hynes, Victor Merriman and Paul Murphy, which provide further critical perspectives on the work.

"In Sean O'Casey: Writer at Work Christopher Murray takes a fresh look at the life of the last of the great writers of the Irish literary revival. Re-exploring the Dublin of O'Casey's childhood and the political situation in the Ireland during his early life, Murray sets them against O'Casey's autobiographies in an attempt to establish 'O'Casey's Ireland'. The second half of O'Casey's life was spent mostly outside Ireland and much of his income came from the United States. Murray examines his rise as an international figure and contrasts his later, more socialist, work with his more nationalist early work." "Christopher Murray establishes O'Casey as a self-made man of letters, an irrepressible fighter, a man who combined political courage and innocence, torn between a humanist vision of life rooted in his Dublin childhood and a utopian but blinkered loyalty to the Soviet Union." "Sean O'Casey: Writer at Work reconstructs a life committed to writing as a moral endeavour. While acknowledging that much of O'Casey's work was uneven, flawed, and overambitious, Murray argues that at its best it was infused with a passion and generosity that place it among the best bodies of drama in the twentieth century."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

Focusing on European tragicomedy from the early modern period to the theatre of the absurd, Verna Foster here argues for the independence of tragicomedy as a genre that perceives and communicates human experience differently from the various forms of tragedy, comedy, and the drame (serious drama that is neither comic nor tragic). Foster posits that, in the sense of the dramaturgical and emotional fusion of tragic and comic elements to create a distinguishable new genre, tragicomedy has emerged only twice in the history of drama. She argues that tragicomedy first emerged and was controversial in the Renaissance; and that it has in modern times replaced tragedy itself as the most serious and moving of all dramatic genres. In the first section of the book, the author analyzes the name 'tragicomedy' and the genre's problems of identity; then goes on to explore early modern tragicomedies by Shakespeare, Beaumont and Fletcher, and Massinger. A transitional chapter addresses cognate genres. The final section of the book focuses on modern tragicomedies by Ibsen, Chekhov, Synge, O'Casey, Williams, Ionesco, Beckett and Pinter. By exploring dramaturgical similarities between early modern and modern tragicomedies, Foster demonstrates the persistence of tragicomedy's generic markers and provides a more precise conceptual framework for the genre than has so far been available.

From the moment of Einstein's arrival in the U.S. in l933 until his death in l955, J. Edgar Hoover's FBI, with help from several other federal agencies, busied itself collecting "derogatory information" in an effort to undermine Einstein's influence and destroy his prestige. For the first time Fred Jerome tells the story of that anti-Einstein campaign, as well as the story behind it--why and how the campaign originated, and thereby provides the first detailed picture of Einstein's little known political activism. Unlike the popular image of Einstein as an absent-minded, head-in-the-clouds genius, the man was in fact intensely politically active and felt it was his duty to use his world-wide fame shrewdly in the cause of social justice. A passionate pacifist, socialist, internationalist and outspoken critic of racism (Einstein considered racism America's "worst disease"), and personal friend of Paul Robeson and W.E.B. DuBois, Einstein used his immense prestige to denounce McCarthy at the height of his power, publicly urging witnesses to refuse to testify before HUAC. The story that emerges not only reveals a little known aspect of Einstein's character, but underscores the dangers that can arise, to threaten the American Republic and the rule of law, in times of obsession with national security.

The period 1890-1940 was a particularly rich and influential phase in the development of modern English theatre: the age of Wilde and Shaw and a generation of influential actors and managers from Irving and Terry to Guilgud and Olivier. Jean Chothia's study is in two parts beginning with a portrait of the period, setting the narrative context and considering the dramatic social and cultural changes at work during this time. It then focuses on some of the main themes in the theatre, from Shaw and comedy, to the rise of political and radio drama, providing an interpretative framework for the period. This volume will be of great benefit to students and academics of English literature and drama, as it covers the work of the major dramatists of the period as well as considering the dramatic output of literary figures, such as James, Eliot and Lawrence.

This book details the Irish socialistic tracks pursued by Bernard Shaw and Sean O’Casey, mostly after 1916, that were arguably impacted by the executed James Connolly. The historical context is carefully unearthed, stretching from its 1894 roots via W. B. Yeats’ dream of Shaw as a menacing, yet grinning sewing machine, to Shaw’s and O’Casey’s 1928 masterworks. In the process, Shaw’s War Issues for Irishmen, Annajanska, the Bolshevik Empress, The Tragedy of an Elderly Gentleman, Saint Joan, The Intelligent Woman’s Guide to Socialism and Capitalism, and O’Casey’s The Story of the Irish Citizen Army, The Shadow of a Gunman, Juno and the Paycock, The Plough and the Stars, and The Silver Tassie are reconsidered, revealing previously undiscovered textures to the masterworks. All of which provides a rethinking, a reconsideration of Ireland’s great drama of the 1920s, as well as furthering the knowledge of Shaw, O’Casey, and Connolly.

Birth of a nation illuminated through its impact on two towering figures of the Irish pantheon, and their enigmatic partnership. O'Casey clawing his way out of poverty in the slum tenements to fame and relative fortune on the strength of his great trilogy of plays. Markievicz heading in an opposite direction has turned her back on the vast family estates in County Sligo to embrace the cause of Dublin's poor. Comrades in the Gaelic League, Larkin and Connolly's Transport Union, the great 1913 lock-out, and the Citizen Army; they have a serious falling out over co-operation with the nationalist Irish Volunteers approaching the rising of 1916, from which O'Casey earns his spurs as a writer while Markievicz earns a death sentence

This is a comprehensive study of the impact of censorship on theatre in twentieth-century Spain. It draws on extensive archival evidence, vivid personal testimonies and in-depth analysis of legislation to document the different kinds of theatre censorship practised during the Second Republic (1931–6), the civil war (1936–9), the Franco dictatorship (1939–75) and the transition to democracy (1975–85). Changes in criteria, administrative structures and personnel from these periods are traced in relation to wider political, social and cultural developments, and the responses of playwrights, directors and companies are explored. With a focus on censorship, new light is cast on particular theatremakers and their work, the conditions in which all kinds of theatre were produced, the construction of genres and canons, as well as on broader cultural history and changing ideological climate – all of which are linked to reflections on the nature of censorship and the relationship between culture and the state.