By E.H. Mikhail
The current paintings is a composite biography that gives a discussion board to so much of these who've been linked to the Abbey Theatre from the start to the current time: actresses, actors, playwrights, males of letters, manufacturers, administrators, level carpenters, residence electricians, and supporters of the theatre. it really is was hoping that the tactic utilized in this booklet will provide a distinct impact from that of prior histories of the Theatre, and on stability most likely a more true one.
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Extra resources for The Abbey Theatre: Interviews and Recollections
I am glad the Irish Literary Theatre has decided to have a play by a priest next year, for I want a censorship. There is no law forbidding a priest to write a play, though he is forbidden to attend the performance of a play. INTERVIEWER. And the anomaly created by the performance of a priest's play will, you think, result in the rescinding of the established rule? MR MOORE. I hope so. And with the rescinding of the rule the censorship will come. INTERVIEWER. But I should have supposed that a censorship would be resented by you- that you would think it likely to interfere, shall I say, with what you call 'the pursuit of art for art's sake'.
In 1897, he moved from Belfast to Dublin, where he met AE [George Russell], W. B. Yeats, Edward Martyn, Douglas Hyde and other writers of the Irish literary revival. In 1901, he met William G. Fay and Frank Fay, and learning of their desire to produce Irish plays, introduced them to AE, who had written the first act ofhis Deirdre. Cousins wrote a number of plays, among them The Sleep of the King (1902), The Racing Lug (1902) and The Sword of Dermot (1903). Some of his short pieces were poetic versions oflrish short stories and, except in quality, were not unlike some of the early plays ofYeats.
II. George Moore, 'The Irish Literary Theatre', Freeman's journal (Dublin), 24 Apr 1901, p. 4. 12. Edward Elgar ( 185 7-1934 ), who wrote, at Moore's request, the incidental music, including the 'Funeral March', for Diarmuid and Crania. In an earlier interview- 'Mr George Moore and Irish Composers', Weekry Freeman (Dublin), 21 Sept 1901- Moore had given a detailed explanation of the choice. See also Eileen Kennedy, 'George Moore to Edward Elgar', English Literature in Transition, 21, no. 3 (1978) 168--87.
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