Bisi Adigun and Roddy Doyle’s centenary adaption of J. M. Synge’s classic The Playboy of the Western World had a sold-out run when it was produced at Dublin’s Abbey Theatre in 2007 and was brought back by popular demand in 2008. The new version is set in a contemporary Dublin pub and features the character of a Nigerian asylum-seeker in the lead role. Under the coauthorship of Bisi Adigun, artistic director of Arambe Productions—Ireland’s first African theater company—and best-selling, Booker Prize–winning novelist Roddy Doyle, the play engages with issues of race and immigration in modern Ireland and, when first released, aimed to be a model for intercultural collaboration. This critical edition features the full text of the play, published for the first time, along with a collection of essays exploring the play’s themes, cultural significance, critical reception, and the legal case that cut short its successful production run. Though the play was first produced over a decade ago, the topic of migration has only increased in its global importance over that time, and this adaptation of Playboy remains a popular touchstone among scholars of Irish theater and immigration.

DigiCat Publishing presents to you this special edition of "The Playboy of the Western World" (A Comedy in Three Acts) by J. M. Synge. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.

Comedy in three acts by J.M. Synge, published and produced in 1907. It is a masterpiece of the Irish Literary Renaissance. This most famous of Synge's works fused the patois of ordinary Irish villagers with Synge's sophisticated rhetoric and enraged Irish playgoers with its satire of Irish braggadocio. The play follows the mercurial rise and fall of the character Christy Mahon, whose self-reported murder of his father earns him much admiration until his father shows up alive and in pursuit of his cowardly son. --The Merriam-Webster Encyclopedia of Literature.

‘I’m thinking this night wasn’t I a foolish fellow not to kill my father in years gone by.’ – Christy Mahon On the first night of J. M. Synge’s The Playboy of the Western World (1907) the audience began protesting in the theatre; by the third night the protests had spilled onto the streets of Dublin. How did one play provoke this? Christopher Collins addresses The Playboy ’s satirical treatment of illusion and realism in light of Ireland’s struggle for independence, as well as Synge’s struggle for artistic expression. By exploring Synge’s unpublished diaries, drafts and notebooks, he seeks to understand how and why the play came to be. This volume invites the reader behind the scenes of this inflammatory play and its first performances, to understand how and why Synge risked everything in the name of art.

This book investigates Ireland’s translation of interculturalism as social policy into aesthetic practice and situates the wider implications of this ‘new interculturalism’ for theatre and performance studies at large. Offering the first full-length, post-1990s study of the effect of large-scale immigration and interculturalism as social policy on Irish theatre and performance, McIvor argues that inward-migration changes most of what can be assumed about Irish theatre and performance and its relationship to national identity. By using case studies that include theatre, dance, photography, and activist actions, this book works through major debates over aesthetic interculturalism in theatre and performance studies post-1970s and analyses Irish social interculturalism in a contemporary European social and cultural policy context. Drawing together the work of professional and community practitioners who frequently identify as both artists and activists, Migration and Performance in Contemporary Ireland proposes a new paradigm for the study of Irish theatre and performance while contributing to the wider investigation of migration and performance.

Based on J M Synge’s Playboy of the Western World. Playboy of the West Indies opened at the Oxford Playhouse in 1984 and subsequently toured the UK finishing at the Tricycle Theatre in London. It has also enjoyed huge success in the United States, most notably at The Court Theatre, Chicago; Arena Stage, Washington; New Jersey and Yale Rep. The Court Theatre Chicago's production was nominated for four Jefferson Awards. There was an extremely successful revival of the play at the Lincoln Center, New York in 1993. Mustapha also wrote the television adaptation, screened on BBC2 in 1985. The play was recently revived at the Tricycle Theatre and the Nottingham Playhouse.

Winner of the Irish Book Award Finalist for the Booker Prize This “affecting” debut is “reminiscent of William Faulkner’s As I Lay Dying” as it paints a vivid portrait of a working-class community in contemporary rural Ireland (New York Times Book Review). “One of my favorite Irish books . . . Moving, atmospheric and beautiful.” —Tana French In the aftermath of Ireland’s financial collapse, dangerous tensions surface in an Irish town. As violence flares, the characters face a battle between public persona and inner desires. Through a chorus of unique voices, each struggling to tell their own kind of truth, a single authentic tale unfolds. The Spinning Heart speaks for contemporary Ireland like no other novel. Wry, vulnerable, all-too human, it captures the language and spirit of rural Ireland and with uncanny perception articulates the words and thoughts of a generation. Technically daring and evocative of Patrick McCabe and J.M. Synge, this novel of small-town life is witty, dark, and sweetly poignant. Donal Ryan’s brilliantly realized debut announces a stunning new voice in fiction. Irish Book of the Decade (Dublin Book Festival) First Book Award (The Guardian) “Newcomer of the Year” and “Book of the Year” (Irish Book Award) “Best Book of the Year” (Library Journal)

Essays on the production and performances of J.M. Synge's The Playboy of the Western World including a study of the acclaimed Druid production directed by Garry Hynes.

Synge, who came from a middle-class Protestant family near Dublin, created a huge scandal at the Abbey Theatre in Dublin, where The Playboy was staged in 1907, because its audience did not take kindly to a comedy that seemed to portray the Irish as violent, superstitious sots and swaggerers. Synge relied on and at the same time mocked the Irish dramatic movement and its ambition to create realistic drama that was also poetically beautiful. The play is set 'near a village, on a wild coast of Mayo'. On the first day, a stranger arrives and declares that he is on the run because he has killed his father - for this, the villagers turn him into a hero. On the second day, however, his father arrives walking wounded, and although Christy knocks him down with a spade, his father seems impossible to kill. The set off together, still quarrelling, and the villagers are bereft of their excitement.

This book uses the social transformation that has taken place in Ireland from the decriminalisation of homosexuality in 1993 to the repeal of the 8th amendment in 2018 as backdrop to examine relationships between activism and contemporary Irish theatre and performance. It studies art explicitly intended to create social and political change for marginalised constituencies. It asks what happens to theatre aesthetics when artists’ aims are political and argues that activist commitments can create new modes of beauty, meaning, and affect. Categories of race, class, sexuality, and gender frame chapters, provide social context, and identify activist artists’ social targets. This book provides in depth analysis of: Arambe – Ireland’s first African theatre company; THEATREclub – an experimental collective with issues of class at its heart; The International Dublin Gay Theatre Festival; and feminist artists working to Repeal the 8th amendment. It highlights the aesthetic strategies that emerge when artists set their sights on justice. Aesthetic debates, both historical and contemporary, are laid out from first principles, inviting readers to situate themselves – whether as artists, activists, or scholars – in the delicious tension between art and life. This book will be a vital guide to students and scholars interested in theatre and performance studies, gender studies, Irish history, and activism.