Sean O'Casey and Radical Theatre
Sean O’Casey’s work after the Dublin trilogy has been neglected to a great extent by both theatre audiences and literary critics. This essay considers three plays which address specifically Irish issues, The Silver Tassie (1926), The Star Turns Red (1940) and Red Roses for Me (1943). Taken together,...
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Archīum Ateneo
2024
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| Online Access: | https://archium.ateneo.edu/kk/vol1/iss15/6 https://archium.ateneo.edu/context/kk/article/1188/viewcontent/_5BKKv00n15_2010_5D_203.4_ForumKritika_Phillips.pdf |
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ph-ateneo-arc.kk-11882024-12-16T06:24:04Z Sean O'Casey and Radical Theatre Phillips, Terry Sean O’Casey’s work after the Dublin trilogy has been neglected to a great extent by both theatre audiences and literary critics. This essay considers three plays which address specifically Irish issues, The Silver Tassie (1926), The Star Turns Red (1940) and Red Roses for Me (1943). Taken together, they may be understood as a radical response to successive counter-revolutionary indigenous governments: Cumann Na nGaedheal (1922-1932) and Fianna Fáil (1932-1948). The essay concludes that these plays ground the case for O’Casey as a radical Irish playwright—socially, politically and aesthetically. 2024-12-16T05:55:09Z text application/pdf https://archium.ateneo.edu/kk/vol1/iss15/6 info:doi/10.13185/1656-152x.1188 https://archium.ateneo.edu/context/kk/article/1188/viewcontent/_5BKKv00n15_2010_5D_203.4_ForumKritika_Phillips.pdf Kritika Kultura Archīum Ateneo Christian socialism experimental theatre political theatre |
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Christian socialism experimental theatre political theatre |
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Christian socialism experimental theatre political theatre Phillips, Terry Sean O'Casey and Radical Theatre |
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Sean O’Casey’s work after the Dublin trilogy has been neglected to a great extent by both theatre audiences and literary critics. This essay considers three plays which address specifically Irish issues, The Silver Tassie (1926), The Star Turns Red (1940) and Red Roses for Me (1943). Taken together, they may be understood as a radical response to successive counter-revolutionary indigenous governments: Cumann Na nGaedheal (1922-1932) and Fianna Fáil (1932-1948). The essay concludes that these plays ground the case for O’Casey as a radical Irish playwright—socially, politically and aesthetically. |
| format |
text |
| author |
Phillips, Terry |
| author_facet |
Phillips, Terry |
| author_sort |
Phillips, Terry |
| title |
Sean O'Casey and Radical Theatre |
| title_short |
Sean O'Casey and Radical Theatre |
| title_full |
Sean O'Casey and Radical Theatre |
| title_fullStr |
Sean O'Casey and Radical Theatre |
| title_full_unstemmed |
Sean O'Casey and Radical Theatre |
| title_sort |
sean o'casey and radical theatre |
| publisher |
Archīum Ateneo |
| publishDate |
2024 |
| url |
https://archium.ateneo.edu/kk/vol1/iss15/6 https://archium.ateneo.edu/context/kk/article/1188/viewcontent/_5BKKv00n15_2010_5D_203.4_ForumKritika_Phillips.pdf |
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