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eBook details

• Title: Christopher Murray (Editor), Selected Plays of George Shiels
• Author : Irish University Review: a journal of Irish Studies
• Release Date : January 22, 2010
• Genre: Reference,Books,Professional & Technical,Education,Language Arts & Disciplines,
• Pages : * pages
• Size : 57 KB

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Christopher Murray (editor), Selected Plays of George Shiels. Gerrards Cross: Colin Smythe, 2008. xxxii + 440 pages. GBP 45.00 [pounds sterling] (hardback). In terms of the twentieth century, the general conception of Irish drama falls into three main phases: the emergence of the modern Irish dramatic movement culminating in the plays of the Irish Renaissance written by W.B. Yeats, J.M. Synge, Lady Gregory, and Sean O'Casey in the first quarter of the century; the classic modern period incorporating Brian Friel, Tom Murphy, John B. Keane, and Hugh Leonard, from the late 1950s to the 1980s; the contemporary period incorporating Frank McGuinness, Sebastian Barry, Conor McPherson, and Marina Carr, from the 1980s to the end of century. The era which, until very recently, has not been recognised for the quality of its theatre is the second quarter of the century. This has been viewed as a generally benighted period from the departure of Sean O'Casey in 1926 to the televisual appearances of Brendan Behan in the early 1950s. The period from the mid-1920s to late 1940s has been written off by journalists and academics alike as a period of poor production standards, hackneyed scripts, and cliched performances. However, when one goes beyond such a prima facie examination then the range and quality of theatre quickly becomes apparent, and one is drawn to the conclusion that the historicization of the second quarter of the century involved a conflation of the quality of a play with the quality of its production. More often than not the understanding of theatre in this period involved an overdetermination of generally poor production standards, particularly at the Abbey Theatre, over a sincere engagement with the plays in and of themselves. As a result, nearly a quarter of a century of theatrical production has been written off by scholars and journalists alike who have employed tacit assumptions rather than critical engagement.

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