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Gender, Performance, and Authorship at the Abbey Theatre (Hardcover)
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Gender, Performance, and Authorship at the Abbey Theatre (Hardcover)
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Gender, Performance, and Authorship at the Abbey Theatre argues for
a reconsideration of authorship at the Abbey Theatre. The actresses
who performed the key roles at the Abbey contributed original
ideas, language, stage directions, and revisions to the theatre's
most renowned performances and texts, and this study asks that we
consider the role of actresses in the development of these plays.
Plays that have been historically attributed to W. B. Yeats and J.
M. Synge have complicated histories, and the neglect of these
women's contributions over the past century reflects power dynamics
that privilege male, Anglo Irish writers over the contributions of
working class actresses. The study asks that readers consider the
importance of past performance in the creation of written text.
Yeats began his earliest plays performing with and writing for
Laura Armstrong, a young woman who was a precursor to Maud Gonne in
her irreverent challenge to traditional gender roles. After writing
his first plays and poems for Armstrong, Yeats met Gonne and
developed two Cathleen plays, The Countess Cathleen and Cathleen ni
Houlihan, for her to perform, beginning a lifetime of fruitful
argument between the two writers about how Ireland should appear
onstage. The book then turns to Synge's work with Molly Allgood in
creating The Playboy of the Western World and Molly's contributions
to Synge's Deirdre of the Sorrows. A section on Yeats's Deirdre
shows the contributions of Lady Gregory and the play's performers.
The book ends with a reconsideration of Abbey actress Sara
Allgood's performances in British and American film as she brought
her earliest work in the pre-Abbey tableau movement to American
audiences in the 1940s, in ways that challenged ideas of Irishness,
American identity, and aging women on screen.
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