Clowns are far more vital in modern Anglo-Irish than in English drama. Age-old clown types can be recognized, and slapstick techniques recur time and again. But the functions of these modern clowns differ markedly according to the dramatic intentions of the author. Low comic entertainment, affirmation, contrast and satire are major functions of the clown from Boucicault to O'Casey. Although supposedly typical of the contemporary period, the «tragicomic», symbolic role found in Beckett proves to be an exception in Anglo-Irish drama.

Seminar paper from the year 2008 in the subject English Language and Literature Studies - Literature, grade: 2,0, University of Bamberg, course: Proseminar Samuel Beckett, 14 entries in the bibliography, language: English, abstract: Clowns and mimes have been accompanying theatrical work since the ancient world and they have not lost their comic effect until today. Even when Beckett has never admitted explicitly that his clown-like characters were intended, his plays do, however, show a considerable influence of comic elements. These clownish and mimetic elements shall be examplified in this term paper. Hence a short view over the history and characteristics of mimes and clowns shall be given and the results embedded into the plays Waiting for Godot, Endgame und Act Without Words I.

This comprehensive study formulates an original theory that dramatic song must be perceived as a separate genre situated between poetry, music, and theater. It focuses on John Arden, Margaretta D'Arcy, Edward Bond, Peter Barnes, John Osborne, Peter Nichols, Harold Pinter, Tom Stoppard, Peter Shaffer, and John McGrath.

This wide-ranging Companion to Modern British and Irish Drama offers challenging analyses of a range of plays in their political contexts. It explores the cultural, social, economic and institutional agendas that readers need to engage with in order to appreciate modern theatre in all its complexity. An authoritative guide to modern British and Irish drama. Engages with theoretical discourses challenging a canon that has privileged London as well as white English males and realism. Topics covered include: national, regional and fringe theatres; post-colonial stages and multiculturalism; feminist and queer theatres; sex and consumerism; technology and globalisation; representations of war, terrorism, and trauma.

A selectively comprehensive bibliography of the vast literature about Samuel Beckett's dramatic works, arranged for the efficient and convenient use of scholars on all levels.

The current book intends to provide a flexible and comprehensive bibliographical tool to those scholars working or interested in Irish English. A whole range of references (approx. 2,500) relating to Irish English in all its aspects are gathered together here and in the majority of cases annotations are supplied. The book has a detailed introduction dealing the history of Irish English, the documentation available and contains an overview of the themes in Irish English which have occupied linguists working in the field. Various appendixes offer information on the history of Irish English studies and biographical notes on scholars from this area. All the bibliographical material is contained on the accompanying CD-ROM along with appropriate software (Windows, PC) for processing the databases and texts. The databases are fully searchable, information can be exported at will and customised extracts can be created by users from within an intuitive software interface. This bibliography is part of a larger project, called the Irish English Resource Centre. Additions and updates to the bibliography can be found on the centre’s website.

Irish literature's roots have been traced to the 7th-9th century. This is a rich and hardy literature starting with descriptions of the brave deeds of kings, saints and other heroes. These were followed by generous veins of religious, historical, genealogical, scientific and other works. The development of prose, poetry and drama raced along with the times. Modern, well-known Irish writers include: William Yeats, James Joyce, Sean Casey, George Bernard Shaw, Oscar Wilde, John Synge and Samuel Beckett.

This work examines the way the clown has been used as a serious character by important playwrights and directors in twentieth-century theater. Experiments with Clown by Jean Cocteau, Vsevolod Meyerhold, Bertolt Brecht, Samuel Beckett, Giorgio Strehler, Dario Fo, and Roberto Begnini are examined.