#Plawright
Text
#OTD in 1926 – Rioting greets the Abbey Theatre performance of Sean O’Casey’s The Plough and the Stars because of what is viewed as anti-Irish sentiment.
When Seán O’Casey took his seat for the fourth night of his new drama The Plough and the Stars he dryly noted that two plays were actually taking place: ‘One on the stage and one in the auditorium.’
The Plough and the Stars was first performed at the Abbey Theatre in 1926, less than ten years after the Easter Rising of 1916. On the night of the fourth performance, the Abbey Company was met by an…
View On WordPress
#1916 Easter Rising#Abbey Theatre#Dublin#Ireland#Irish History#Plawright#Play#Sean O’Casey#The Plough and the Stars#W.B. Yeats
7 notes
·
View notes
Note
Bones, Troi
Thanks for the ask!
BONES: do you have a nickname?
Two of my nicknames are just variations of my real name. I go by Bev here, but it has nothing to do with my real name. In high school, I picked up the nickname Miss Kitty Fantastico from a few people, but as it was longer than my actual name, it doesn’t get used a lot.
One of my students this semester started calling me Professor Cyborg (or Prof Cyborg) due to a joke I make about my insulin pump at the start of the semester. I liked that one a lot.
TROI: are you good at picking up on what other people are thinking?
Yeah, I’m pretty intuitive, and other people’s moods come pretty easily to me. What can I say - I spend my life analyzing writers and actors. It’s got to be good for something!
#asks#doctorginsberg#nicknames#i finished my plawright meeting and now i'm out of asks#thank you everyone who sent asks#if anyone wants to send more i'm up for them
14 notes
·
View notes
Photo
Day 3385 - Alok Vaid-Menon . . . #playwright #plawrights #AlokVaidMenon #dramatist https://www.instagram.com/p/CYeLyodLc6_/?utm_medium=tumblr
1 note
·
View note
Photo
SEQUENCES OF IMAGES THAT MAKE YOU GO HMMMMMMMMM
why do i suddenly want to grab a beer with Simon McNabb?
#if anyone doesn't recognise the first image it's from an interview with Peter Mitchell#but sdfghjkshdfj can you believe this show#truly the canadian spn#murdoch mysteries
86 notes
·
View notes
Text
The Twelfth Night - The Young Vic
The Twelfth Night – The Young Vic
“Be not afraid of greatness. Some are born great, some achieve greatness, and others have greatness thrust upon them.”
― William Shakespeare, Twelfth Night
To say the adaptation of Shakespeare’s comedic theatrical tale was ‘great’ would be an absolute understatement. I must say, when I first realised that the play was completely dialogued in Shakespearean language I felt like I might pull a…
View On WordPress
#literature#London#Performing Arts#Plawright#poetry#review#The Twelfth Night#The Young Vic#Theatre Performance#William Shakespeare#writer
0 notes
Photo
Nothing's more exciting for a writer'! Creating people and worlds #wecreateworlds #plawright #ourstories #ourvoice #learnbyliving #artisactivism
0 notes
Photo
More WHO's WHO (Playwright) from our April 3rd #bareNakedReadingSeries: As a playwright, my work has been developed and presented at Ensemble Studio Theatre, Rattlestick, Primary Stages, Culture Project, New Dramatists, La MaMa, HERE, Dixon Place, The Brick, Atlantic Stage 2, Fringe NYC, various New York apartments, and Paris. Indie Theater Hall of Fame (“Person of the Year” 2012), PoNY nominee. Plays include Baby Mama: One Woman’s Quest to Give Her Child to Gay People (winner of the Dr. Robert J. Thierauf Producer's Pick Award; viewed over 41,000 times on YouTube), Honors Students (Kilroys List Honorable Mention; EST/Youngblood Unfiltered), Safeword (Dixon Place), Magic Trick (FringeNYC and Theatre Row; winner of the Doric Wilson Independent Playwright Award and Lotos Foundation Prize in the Arts and Sciences), Mrs. Mayfield’s Fifth-Grade Class of ’93 20-Year Reunion (“sweet and boisterous…a lot of fun" -The New York Times), The Foreplay Play (two NYIT Award nominations), Ampersand: A Romeo & Juliet Story (twenty Looking Glass Forum Awards, FringeNYC “Outstanding Performance”), and The All-American Genderf*ck Cabaret (“f*cking brilliant” -Kate Bornstein; performed in Baltimore, Fort Lauderdale, Chicago, and New York). I’m a Friend of Flux, a writer-in-residence of The Propulsion Lab, and a member of Youngblood and Lather, Rinse, Repeat. As a producer, I’m Executive Artistic Director of Caps Lock Theatre and Associate Artistic Director-at-Large of The Brick. For Caps Lock Theatre, I curate and produce Pussyfest (featuring playwrights such as Jose Rivera, Mike Daisey, Sheila Callaghan, Rob Askins, Brooke Berman, and many others) and The Sex with Robots Festival. For The Brick, I curated and produced the Live Action Music Video Festival (featuring the work of Dave Malloy, Anne Washburn, The Lisps, and many others) and Fuckfest. I’ve also produced numerous fundraisers, including a Rocky Horror concert, a dance-a-thon, and multiple burlesque shows. (More on Barefoot FB Page). #HiARTS #plawright #Newplays (at El Barrio’s Artspace PS109)
0 notes
Text
Ana González Bello en 245 actos de maldad extraordinaria
245 actos de maldad extraordinaria escrita por Paula Zelaya Cervantes y Ana González Bello, es un espectáculo unipersonal, ingenioso y entrañable producido por Once Once Producciones
Una gran producción de bolsillo estelarizada por Ana González Bello, que el público podrá disfrutar próximamente en La Teatrería
Ingeniosa y entrañable, 245 actos de maldad extraordinaria es un monólogo que retrata las dificultades y retos de ser la hija adolescente nada poderosa y ordinaria de un legendario y extraordinario superhéroe mexicano. Se trata de una gran producción de bolsillo estelarizada por Ana González Bello, que el público podrá disfrutar los viernes a las 20:30 h del 11 de marzo al 29 de abril en La Teatrería.
Esta obra ofrece al público una puesta en escena visualmente atractiva, con una historia inspiradora, plagada de elementos cotidianos y nostálgicos que reescriben partes de la historia de nuestro país y lo invitan a imaginar un México en el que los superhéroes existieron.
Con un texto divertido y fresco y una historia auténtica, las dramaturgas Paula Zelaya Cervantes y Ana González Bello abordan la frustración e impotencia que es posible sentir hacia los actos de maldad, crueldad, injusticia y corrupción cometidos todos los días en nuestro país y en el mundo. Hablan sobre el perdón y la generosidad, además de recordarnos el poder del individuo para cambiar, aunque sea un poquito, al mundo. “Ah! Y de la vaquita marina. También habla de la vaquita marina...”.
La dirección está a cargo de la misma Paula Zelaya Cervantes joven talento del teatro mexicano que ha destacado por un estilo de dirección fresco, juvenil, ingenioso y detallado, que enamora al público y transporta al espectador a la ficción de manera irresistible. Esta obra promete no ser la excepción.
En su trayectoria la obra ha sido galardonada con el “Sharon Enkin Award for Young People" 2019 por Plawrights
Guild of Canada, el premio “National Latino Playwright Award” otorgado por Arizona Theatre Company
y el premio a "Actriz Revelación" en el Festival United Solo de Nueva York en 2017.
Además de dos nominaciones a Los Premios Metro 2021 a “Mejor Diseño de video” y “Mejor escenografía de una obra”.
El montaje cuenta con un fabuloso y sólido equipo creativo con superpoderes para hacer que ocurra lo extraordinario sobre el escenario y al mismo tiempo romper con la idea del unipersonal a cámara negra. El diseño de escenografía es de Sergio Villegas, el diseño de iluminación de Matías Gorlero, el diseño de vestuario de Aldo Vázquez, música original y diseño sonoro de Cristobal MarYan, el diseño multimedia de Diego Espinosa De Los Monteros, el diseño de utilería de Ruth Hernández y el diseño de movimiento de Pablo Rodríguez.
245 actos de maldad extraordinaria reúne nuevamente a Jimena Saltiel, directora de Once Once Producciones, con Paula Zelaya y Ana González Bello, quienes tras colaborar juntas en El Hilador, han creado una potente mancuerna creativa. Jimena encabeza al equipo de Once Once Producciones, garantizando así un montaje de suma calidad que sin duda se volverá un favorito del público.
SINOPSIS
En un México en el que los superhéroes existen, el gen súper ha comenzado a extinguirse… hay crimen, hay injusticias, el atole se sirve en vasos de unicel, los bomberos matan abejas, los bullies de la escuela están NETA FUERA DE CONTROL… y la única persona que está dispuesta a hacer algo al respecto es Andrea —una pequeña, irresponsable, imprudente, insoportable y súper súper inmadura adolescente. Andrea mide 1.50 y definitivamente no es la heroína que México esperaba. Pero pues, es lo que hay.
Dinámica, emocionante, divertida y emocional, 245 actos de maldad extraordinaria es una obra mexicanísima sobre la hija nada poderosa de un superhéroe poderoso; sobre la valentía y la impotencia; y sobre la capacidad del individuo para cambiar, aunque sea un poquito, al mundo. Y sobre la vaquita marina. También habla sobre la vaquita marina.
245 Actos de maldad extraordinaria
de Paula Zelaya Cervantes y Ana González Bello
Dirección: Paula Zelaya Cervantes
Con Ana González Bello
De Once Once Producciones
0 notes
Text
Los Cipotes
JULES and the rest of his band, Los Cipotes, are pacing and idling around the stage in a Salvadoran bar. His uncle NATALIO and his band, Neptuno, are also on stage. Some band members are conversing with their own members as well as the other band but it’s quiet and there’s a sense of tension in the idle conversations. JULES and NATALIO stand together, discretely from the other bands. Lights are mostly hitting the two lead members while lighting is dim on other band members. JULES and NATALIO try to be warm and pleasant to one another but the suspense of waiting for LUKE, the talent scout, to show up and the fact that only one of their bands will possibly earn a record deal weighs on them.
JULES
Man, this guy’s takin’ forever.
NATALIO
Sí, hombre. Estoy nervioso ahora.
JULES
(Frustrated)
Tio, can you please talk in English?
NATALIO
(Teasingly)
What happened to your Spanish? You been living in El Salvador for a year now, que paso?
JULES
JULES starts twisting his neck length, shaggy hair with his fingers and looks away from NATALIO.
I’m just better withEnglish man, that’s it.
NATALIO
(Laughs)
I hope I can have chance to speak better English like you, Cipote.
JULES
You speak good enough English already Tio.
He twists his hair a little more vigorously upon saying this and slightly turns away from NATALIO towards audience.
NATALIO
(Softly, almost pleading)
I need to get better.
Beat
JULES
I need to finally get out there with Los Cipotes and show everyone what I got! I’m gonna show everyone real music. I’m gonna show everyone that the underdogs can be the motherfuckin’ apex predators! I’m provin’ everyone wrong. And this talent guy’s holdin’ me back by takin’ forever to get here!
NATALIO
What is under the dog? What dog are you talking about?
JULES
(Sighs) There is no dog, Tio. It’s an expression. An underdog is someone comin’ up from the bottom. Someone who came from nothin’ and is makin’ their way to the top.
NATALIO
Ahh, okay. I get it now. And the apex predator is the top?
JULES
No, you don’t get—wait. No, yeah, you’re right. Yeah that’s exactly it!
NATALIO
Ahh. But you are not under the dog. Are you sure you are under the dog?
JULES
It’s UNDERDOG. I’m not under anything, you say ‘he is an underdog, she is an underdog’ and yes I am an underdog. I’ve been put down so much, how could I not be an underdog?
NATALIO
I don’t know Cipote, did you grow up in a broken village? Did you have to save every cent to buys clothes? Did you have to worry about a civil war on your way to school?
Long beat
JULES
Man, there’s different kinds of struggles from different places. You got yours and I got mine. This is my big chance. I’m finally gonna get everyone’s attention and my group’s finally gonna get the recognition they deserve. My band worked their asses off!
NATALIO
My band worked hard too. Does your band deserve this chance more than mine?
JULES
That’s not what I’m sayin’, but… We’re probably gonna beat you guys hahaha!
LUKE, a Salvadoran-American talent scout, enters bar and takes a seat on a stool across from the performance stage. The low hum of small talk dies and everyone on stage freezes as they look on to LUKE. LUKE is visibly taken aback by the sudden attention from everyone and laughs.
LUKE
Calmate todos! Everyone just chill, you act like you’ve never seen a talent recruiter before- Oh, ha-ha-ha!
Everyone laughs, some genuinely, most nervously and wonder whether LUKE is being playful or being a dick.
Entonces. Let’s get this started!
JULES
(Excitedly)
WOOOOOOOO! Let’s start this shit up! Vamonos! Vamonos! (In American accent and claps energetically)
NATALIO
Calmate Cipote, you are too excited.
JULES
Scared we’re gonna beat your band Tio? (Sticks his tongue out and cackles) Don’t worry, when Los Cipotes go platinum I’ll definitely have Neptuno come and open for us. (Playfully nudges Natalio with an elbow) Then that way you can also learn more English!
NATALIO
Don’t give yourself head, Julian.
JULES
HUH?!
NATALIO
Wh-what?
JULES
Did you just tell me not to give myself head???
NATALIO
Yes. That is not the expression?
JULES
What expression??
NATALIO
Ah! How do I say- It’s about being too confident.
JULES
Are you trying to say ‘don’t get ahead of yourself?’
NATALIO
Ah! Si! That’s it. That is what I was saying. Gracias Jules.
JULES
Nooooo that’s not what you said. (Starts chuckling)
NATALIO
(Laughs hard)
You see? This is why I need to go to United States.
JULES
(Hesitantly)
Uh…yeah.
Sound engineers enter performing stage. They look over instruments and other equipment to make sure everything is running smoothly. After finding everything okay the engineers leave and the first band to perform is Los Cipotes.
LUKE
Alright muchachos, like I said before, I like you both. Both of your bands are really something and I’m really feeling how different each of you guys are. But you know I’m only taking one band with me back to the U.S. It’s my philosophy that I should focus on one amazing band at a time, if you don’t fully blow me away then you’re probably not ready to be discovered just yet. So whichever band stays here, don’t be bitter. Just means you have more time to perfect your craft, right? (Laughs violently, the bands laugh as well but definitely nervously this time.)
Okay Cipotes, you’re up!
JULES takes a deep, shaking breath and looks to his drummer for the countdown. The drummer acknowledges the signal and makes four counts with his drumsticks before dropping the beat. The sound is a heavy garage band sound, probably 70s or 80s style, with a fast, shuffling beat and a prominent bass line throughout the song. Sharp, punchy rhythm guitar sections and lead guitar riffs that have a touch of country sound along with electric keyboard accompaniment make up the song. JULES riffs for four bars leading into the chorus.
JULES
(Singing hoarsely)
Yeah, the world’s come down on you
you’re, not drownin’ fast enough
in, your venom that you spit
in, my eyes that’s what you get.
(Melodic guitar riff)
Yeah, drown in your regret.
(Harmonic guitar+keyboard riff)
Yeah, drown in your regret.
(Instrumental hook plays until pre-chorus comes)
I, ain’t got time for your pleads
don’t, you keep me on your leash
far, is where you’ll see me pleased
So fuck off and leave me be!
(Hook plays again and repeats chorus twice and leads to bridge, JULES screams this)
Keep your castles, keep your treasures, keep your cavalry
'cause in the end it don't mean a shit to me
banished myself from your kingdom so that you can see
I can be a peasant who can bring you to your knees!
(Keyboard and guitar riff)
So I can bring you to your royal knees.
(Main hook plays throughout until it all ends on the last drum hit)
Everyone in Neptuno applauds, mostly out of courtesy, except for NATALIO who only nods with a strained look on his face. JULES and NATALIO exchange looks of acknowledgement before Neptuno starts preparing for their performance.
LUKE
Niiiiiiiice! I love it! Very raw! I can see teenagers and young adults listening to this, maybe even older people who never got love from their mommies and daddies ha-ha-ha! Alright, Neptuno is up next!
Neptuno sets up and soon starts their song. Drummer counts the band in with cymbals before drums and reverberated rhythm and bass guitars come in all at the same time. The beat of the drum pedal is slow until the drumming picks up the tempo. The sound is a more modern indie/alternative rock style, a bit melancholic in vocals but guitars lift the song into an almost uplifting sound. A much more mature sound than Los Cipotes.
NATALIO
(Singing in Spanish)
(Pre chorus with bass guitar leading with intermittent rhythm guitar)
Look at you, a boy with wrinkles and scars of a man.
Fighting wars, you’re tasting blood before you even taste young love.
Take my hand, we’ll go and find you a fountain of youth.
Show me how, to wipe away these stains of blood clad lands.
(Chrous, beat slows down with guitars played in single down strokes)
Tell me young boy how I can start it all over?
Tell me young boy where do I go to begin again?
Whoa, subjugated by my fear of dying half-done
Oh, whoa! Oh, whoa!
(Tempo picks back up as main hook comes in leading into another pre chorus with same instrument progression as first pre chorus)
Don’t understand how, you choose beaten paths with carpets lined up for you, oh!
Don’t understand how, choosing strife over placid dreams will satisfy you, oh!
Don’t understand why, starving yourself of your privilege sounds so right.
(Tempo slows back down as chorus repeats another couple of times as guitars lead into a bridge that speeds tempo back up and leads to main hook along with the chorus again but this time played in the fast tempo. It goes on like this until just the guitars play, a very high pitch guitar riff ends the song along with the drums.)
Los Cipotes, standing in front of stage applaud Neptuno, some members do it out of courtesy, others are genuinely moved by the performance and applaud in excitement. JULES claps slowly and looks at NATALIO blankly. Neptuno exit the stage and joins Los Cipotes where the tables are and face LUKE.
JULES
(In a whisper to NATALIO)
I never heard that song before. When did you…write that?
NATALIO
(Also whispering)
It was locked inside me for a while. For a long time. But you brought it out when you told me about meeting Luke. It was very good chance. Because after you told me, he found me too and he give me the same chance as you. That made me brave enough to make the song. The words I had inside my head. Also I had the music inside me. This chance help me bring it out finally. It is mostly because of you, so thank you Cipote. Thank you Jules.
JULES looks at his uncle with newfound admiration and respect, but also regret for trying so hard to beat him for this possible record deal. JULES looks at LUKE with a twisting frown that shifts between an angry face and a crying face.
JULES
(Under his breath)
Fuckin’ Christ, man.
LUKE
Freaking. Amazing. Performance. Well freaking done Neptuno! (Claps) Dammit this is gonna be hard. Give me time to digest both your performances and I’ll be back in a few to tell you who I choose.
Long beat as LUKE sits at a table by himself mulling over his decisions. Pretty much everyone has decided to drink during this time. NATALIO and JULES have beers together in silence until JULES finally feels loose enough to talk.
JULES
Y’know, Tio Natalio? I can’t get over how much I like your song. I fuckin’ love your song man! I don’t know why it touched me so much. Makes my music sound like shit for sure. Fuck, can that guy hurry up and pick who he’s gonna pick?!
NATALIO
Calmate, Julian. You have been drinking a lot. Calm down. I like your music too. It’s not shit, it’s different. You are very young and you feel lost, everyone feels that way sometimes no matter how old they are.
JULES
(Yelling)
I’m a piece of crap for wantin’ to be so successful so bad when you deserve it more than me! I know what your song means. I know I’m privileged, I know I shoulda stayed with mami and papi back in New York. But they didn’t believe in me. But you did! I came here and learned from you and now I’m tryin’ to beat you! The hell is wrong with me!
NATALIO
Stop it, no more blaming yourself. I made the song open for different meanings. If that is what you get from the song then that is your message. I just want you to make your music for you, not for anyone else. It has to make you happy. You have potential. You only need good reason to make the music now.
JULES
(Sighs deeply)
Okay, I need to relax. I’m goin’ to the bathroom. Be right back.
NATALIO
Wait! Luke ya viene! He is coming back!
JULES
I’ll be quick. (Stumbles off stage)
LUKE
Alright, so I made my choice. It was actually kinda hard to decide. I like both of you guys a lot! So different! So passionate in what you do and what you believe in! And it’s fun seeing competition, especially between family ha-ha-ha! I wish I could see it more. But I gotta stick to my philosophy. And so I’m choosing…Los Cipotes! I’m sorry Neptuno but you guys would be harder to sell around the world since you don’t sing in English. You guys are also much older and I don’t know if you’d last very long anyways. Unless you can sing in English now I don’t see myself picking you guys now. So Cipotes, you win!
The Cipotes members jump up and hug and celebrate with each other while Neptuno reluctantly claps and congratulates them. NATALIO looks around for JULES but still doesn’t see him.
Mira! Natalio! Donde esta tu sobrino? Where’s your nephew?
NATALIO shrugs. Then a loud roar of a guitar breaks up the celebration and everyone’s attention is at the performance stage where JULES reenters. He holds a plugged in guitar and looks directly at LUKE.
JULES
YO! HEY! I ALSO WANNA MAKE A DECISION! YOU READY? READY FOR THIS??? FUCK YOUR RECORD DEAL! WE DON’T WANT YOUR PIECE OF SHIT DEAL! MY UNCLE DESERVES THAT SHIT, MOTHERFUCKER! HE AIN’T NEVER BEEN TO SIX FLAGS BEFORE AND HE DESERVES THAT SHIT! NEVER BEEN TO A HOOTERS BEFORE AND HE DESERVES THAT SHIT! THEY ALL DESERVE THAT. EVERY TIME THEY HAVE SOLD OUT SHOWS THEY DESERVE TO GO TO SIX FLAGS AND HOOTERS ALL THEY WANT! FUCK YOUR DEAL, WE DON’T WANT IT! I DON’T WANT IT! AND STOP TRYING TO BE FUNNY TOO! YOU’RE NOT FUNNY! YOU’RE AN ASSHOLE! JUST STOP IT. HERE, I GOT A SONG FOR YOUR ASS!
Los Cipotes look at him with fury as well as LUKE. Neptuno members are confused, worried, or laughing hysterically. NATALIO can’t help but smile at JULES. JULES points at his uncle and smiles.
ESTO ES PARA TI TAMBEIN! THIS IS FOR YOU TOO, TIO NATALIO!
JULES starts belting out the words ‘Fuck your deal’ repeatedly in a falsetto voice as he aimlessly strums between diminished chords.
The End
0 notes
Text
#OTD in 1926 – Rioting greets the Abbey Theatre performance of Sean O’Casey’s The Plough and the Stars because of what is viewed as anti-Irish sentiment.
#OTD in 1926 – Rioting greets the Abbey Theatre performance of Sean O’Casey’s The Plough and the Stars because of what is viewed as anti-Irish sentiment.
When Seán O’Casey took his seat for the fourth night of his new drama The Plough and the Stars he dryly noted that two plays were actually taking place: ‘One on the stage and one in the auditorium.’
The Plough and the Stars was first performed at the Abbey Theatre in 1926, less than ten years after the Easter Rising of 1916. On the night of the fourth performance, the Abbey Company was met by an…
View On WordPress
#1916 Easter Rising#Abbey Theatre#Dublin#Ireland#Irish History#Plawright#Play#Sean O’Casey#The Plough and the Stars#W.B. Yeats
6 notes
·
View notes
Video
youtube
Skin, a short film by the playwright Sarah Kane (directed by Vincent O'Connell, 1995)
0 notes
Text
#OTD in 1926 – Rioting greets the Abbey Theatre performance of Sean O’Casey’s The Plough and the Stars because of what is viewed as anti-Irish sentiment.
#OTD in 1926 – Rioting greets the Abbey Theatre performance of Sean O’Casey’s The Plough and the Stars because of what is viewed as anti-Irish sentiment.
When Seán O’Casey took his seat for the fourth night of his new drama The Plough and the Stars he dryly noted that two plays were actually taking place: ‘One on the stage and one in the auditorium.’
The Plough and the Stars was first performed at the Abbey Theatre in 1926, less than ten years after the Easter Rising of 1916. On the night of the fourth performance, the Abbey Company was met by an…
View On WordPress
#1916 Easter Rising#Abbey Theatre#Dublin#Ireland#Irish History#Plawright#Play#Sean O’Casey#The Plough and the Stars#W.B. Yeats
1 note
·
View note
Text
#OTD in 1926 – Rioting greets the Abbey Theatre performance of Sean O’Casey’s The Plough and the Stars because of what is viewed as anti-Irish sentiment.
#OTD in 1926 – Rioting greets the Abbey Theatre performance of Sean O’Casey’s The Plough and the Stars because of what is viewed as anti-Irish sentiment.
When Seán O’Casey took his seat for the fourth night of his new drama The Plough and the Stars he dryly noted that two plays were actually taking place: ‘One on the stage and one in the auditorium.’
The Plough and the Stars was first performed at the Abbey Theatre in 1926, less than ten years after the Easter Rising of 1916. On the night of the fourth performance, the Abbey Company was met by an…
View On WordPress
#1916 Easter Rising#Abbey Theatre#Dublin#Ireland#Irish History#Plawright#Play#Sean O’Casey#The Plough and the Stars#W.B. Yeats
9 notes
·
View notes
Text
#OTD in 1926 – Rioting greets the Abbey Theatre performance of Sean O’Casey’s The Plough and the Stars because of what is viewed as anti-Irish sentiment.
#OTD in 1926 – Rioting greets the Abbey Theatre performance of Sean O’Casey’s The Plough and the Stars because of what is viewed as anti-Irish sentiment.
When Seán O’Casey took his seat for the fourth night of his new drama The Plough and the Stars he dryly noted that two plays were actually taking place: ‘One on the stage and one in the auditorium.’
The Plough and the Stars was first performed at the Abbey Theatre in 1926, less than ten years after the Easter Rising of 1916. On the night of the fourth performance, the Abbey Company was met by an…
View On WordPress
#1916 Easter Rising#Abbey Theatre#Dublin#Ireland#Irish History#Plawright#Play#Sean O’Casey#The Plough and the Stars#W.B. Yeats
1 note
·
View note
Text
#OTD in 1926 – Rioting greets the Abbey Theatre performance of Sean O’Casey’s The Plough and the Stars because of what is viewed as anti-Irish sentiment.
#OTD in 1926 – Rioting greets the Abbey Theatre performance of Sean O’Casey’s The Plough and the Stars because of what is viewed as anti-Irish sentiment.
When Seán O’Casey took his seat for the fourth night of his new drama The Plough and the Stars he dryly noted that two plays were actually taking place: ‘One on the stage and one in the auditorium.’
The Plough and the Stars was first performed at the Abbey Theatre in 1926, less than ten years after the Easter Rising of 1916. On the night of the fourth performance, the Abbey Company was met by an…
View On WordPress
#OTD#1916 Easter Rising#Abbey Theatre#Dublin#Ireland#Irish History#Plawright#Play#Sean O’Casey#The Plough and the Stars#W.B. Yeats
0 notes
Last Seen Blogs
bemommysgoodboy
Let Me Torture You My Pet
firebreathnchkn
Fire-Breathing Chicken
theanchorthat-blog
Welcome to the trouble circus
gentedimare
Alessandra