Riot and great anger : stage censorship in twentieth-century Ireland
Author(s)
Bibliographic Information
Riot and great anger : stage censorship in twentieth-century Ireland
（Irish studies in literature and culture / Michael Patrick Gillespie, series editor）
University of Wisconsin Press, c2004
- : cloth
- : pbk
Available at 2 libraries
Note
Includes bibliographical references (p. 237-252) and index
Description and Table of Contents
- Volume
-
: cloth ISBN 9780299196608
Description
Joan FitzPatrick Dean's Riot and Great Anger suggests that while there was no state censorship, the theatre often evoked heated responses from theatergoers, sometimes resulting in riots and the public denouncement of playwrights and artists. Dean examines the plays that provoked these controversies, the degree to which they were ""censored"" by the audience or patrons, as well as the range of responses from both the press and the courts. She addresses familiar pieces such as those of William Butler Yeats as well as the work of less known playwrights. Dean's original research meticulously analyzes this great theatrical tradition, both on the stage and off, concluding that the public responses to these controversial productions reveal a country that was more pluralistic, heterogeneous, and complex than the usual Catholic versus Protestant, urban versus rural, or pro-versus anti-treaty dichotomies associated with Ireland.
- Volume
-
: pbk ISBN 9780299196646
Description
Under the strict rule of twentieth century Irish censorship, creators of novels, films, and most periodicals found no option but to submit and conform to standards. Stage productions, however, escaped official censorship. The theater became a ""public space""—a place to air cultural confrontations between Church and State, individual and community, and ""freedom of the theatre"" versus the audience’s right to disagree.
Joan FitzPatrick Dean’s Riot and Great Anger suggests that while there was no state censorship in early-twentieth-century Ireland, the theater often evoked heated responses from theatergoers, sometimes resulting in riots and the public denunciation of playwrights and artists. Dean examines the plays that provoked these controversies, the degree to which they were ""censored"" by the audience or actors, and the range of responses from both the press and the courts. She addresses familiar pieces such as those of William Butler Yeats, John Millington Synge, and Sean O’Casey, as well as the works of less known playwrights such as George Birmingham.
Dean’s original research meticulously analyzes Ireland’s great theatrical tradition, both on the stage and off, concluding that the public responses to these controversial productions reveal a country that, at century’s end as at its beginning, was pluralistic, heterogeneous, and complex.
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