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- W2890658687 abstract "If it be accepted that the Irish Dramatic Movement as founded on the cusp of the twentieth century was part of the European revolution initiated by Ibsen and Strindberg on the one hand and such theatrical innovators as Andre Antoine, Otto Brahm and Constantin Stanislavski on the other, and therefore committed to naturalism, it must also be acknowledged that realism was never sufficient to the ideals and objectives of modern Irish theatre. Yeats put his stamp on Irish drama, and that stamp was poetic. Even though Synge and O’Casey avoided Yeats’s formal use of poetic drama, which was still tied to iambic pentameter, their use of language was “poetic” inasmuch as they wrote a heightened form of prose in which rhythm, imagery and richness of colour dominated. “In a good play every speech should be as fully flavoured as a nut or apple”, Synge famously asserted in his preface to The Playboy of the Western World (1907), and O’Casey concurred. Indeed, in an essay entitled “The Green Goddess of Realism”, O’Casey attacked realism as obsolete and insisted that “it is the imaginative transformation of reality, as it is seen through the eyes of the poet, that we desire”." @default.
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- W2890658687 date "2018-01-01" @default.
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- W2890658687 title "The Literary Tradition in the History of Modern Irish Drama" @default.
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