Michael McAteer examines the plays of W. B. Yeats, considering their place in European theatre during the late nineteenth and early twentieth century. This original study considers the relationship Yeats's work bore with those of the foremost dramatists of the period, drawing comparisons with Henrik Ibsen, Maurice Maeterlinck, August Strindberg, Luigi Pirandello and Ernst Toller. It also shows how his plays addressed developments in theatre at the time, with regard to the Naturalist, Symbolist, Surrealist and Expressionist movements, and how symbolism identified Yeats's ideas concerning labour, commerce and social alienation. This book is invaluable to graduates and academics studying Yeats but also provides a fascinating account for those in Irish studies and in the wider field of drama.

W. B. Yeats is recognised globally as one of the most significant poets of the past century. And yet, in his Nobel address, he singled out his work in the theatre as his main accomplishment. Yeats on Theatre restores Yeats not only a playwright, but as a writer and thinker who, over forty years, produced a body of theory covering all aspects of theatre, including the possibilities of performance space, the role of the audience and the nature of tragedy. When read as whole, in conjunction with his plays, letters, and extensive manuscript materials, Yeats's theatre writings emerge as a radical, cohesive, theatrical aesthetic, at odds with – and in advance of – the theatre of his time. Ultimately, the Yeats who takes shape in Yeats on Theatre is an artist who thinks through theatre, providing us with an urgently needed reassertion of the value of theatre as embodied thought.

Contents: H.S.H. Princess Caroline; Opening Address; C. George Sandulescu, Preface; A. Norman Jeffares, Address on Yeats the European; Alasdair D.F. Macrae, When Years Summoned Golden Codgers To His Side; Helen Vendler, Yeats As A European Poet: The Poetics of Cacophony; Patrick Rafroidi, Yeats's France Revisited; Denis Donoghue, Yeats and European Criticism; Jacqueline Genet, Villiers De l'Isle Adam and W.B. Yeats; Warwick Gould, A Crowded Theatre: Yeats and Balzac; Birgit Bramsb0/00ck, Yeats and The 'Bounty of Sweden'; Peter R. Kuch, A Few Twigs From The Wild Bird's Nest; C.K. Stead, Yeats The European; Michael Sidnell, The Presence of The Poet: Or What Sat Down At The Breakfast Table; Ronald Schuchard, Yeats, Titian and The New French Painting; John Kelly, Caelum Non Animum Mutant; William M. Murphy, Lily Yeats, W.B. Yeats, and France; Ann Saddlemyer, Georgie Hyde Lees: More Than A Poet's Wife; Michael Alexander, Savants and Artists: Pound and Yeats; Bernard Hickey, Lady Gregory: Coole and Ca'Cappello Layard; Andrew Parkin, W.B. Yeats and Other Europeans; Masaru Sekine, Four Plays For Dancers: Japanese Aesthetics and A European Mind; George Watson, Yeats, Ibsen and The 'New Woman'; Toni Cerutti, Yeatsian Studies In Italy Today; Heinz Kosok, Yeats In Germany; A. Norman Jeffares; Contributors; Index^R

This study provides a European perspective on the drama of Yeats and of the Irish playwrights – Wilde and Synge, O'Casey and Beckett – who share in the achievement of creating a modern 'drama of the interior'. Professor Worth traces in particular the influence of Maeterlinck, examining his 'static drama' in some detail. A dominant theme is the importance of total theatre techniques to the playwrights of the interior from Wilde in Salomé to O'Casey in plays like Cock-a-Doodle Dandy. Yeats is seen as the great pioneer, assimilating inspiration from the French, with Arthur Symons as guide, from Synge, from Gordon Craig and from the No drama, and evolving a modern technique for a drama of complex self-consciousness.

The intellectual and cultural impact of British and Irish writers cannot be assessed without reference to their reception in European countries. These essays, prepared by an international team of scholars, critics and translators, record the ways in which W. B. Yeats has been translated, evaluated and emulated in different national and linguistic areas of continental Europe. There is a remarkable split between the often politicized reception in Eastern European countries but also Spain on the one hand, and the more sober scholarly response in Western Europe on the other. Yeats's Irishness and the pre-eminence of his lyrical work have posed continuous challenges. Three further essays describe the widely divergent reactions to Yeats in his native Ireland, during his lifetime and up to the most recent years.

Shedding fresh light on the life and work of William Butler Yeats--widely acclaimed as the major English-language poet of the twentieth century--this new study by leading scholar Patrick J. Keane questions established understandings of the Irish poet's long fascination with the occult: a fixation that repelled literary contemporaries T.S. Eliot and W.H. Auden, but which enhanced Yeats's vision of life and death.

The Irish Dramatic Revival was to radically redefine Irish theatre and see the birth of Ireland's national theatre, the Abbey, in 1904. From a consideration of such influential precursors as Boucicault and Wilde, Anthony Roche goes on to examine the role of Yeats as both founder and playwright, the one who set the agenda until his death in 1939. Each of the major playwrights of the movement refashioned that agenda to suit their own very different dramaturgies. Roche explores Synge's experimentation in the creation of a new national drama and considers Lady Gregory not only as a co-founder and director of the Abbey Theatre but also as a significant playwright. A chapter on Shaw outlines his important intervention in the Revival. O'Casey's four ground-breaking Dublin plays receive detailed consideration, as does the new Irish modernism that followed in the 1930s and which also witnessed the founding of the Gate Theatre in Dublin. The Companion also features interviews and essays by leading theatre scholars and practitioners Paige Reynolds, P.J. Mathews and Conor McPherson who provide further critical perspectives on this period of radical change in modern Irish theatre.