W. B. Yeats’s Dramaturgical Influence on Three One-Act Plays by the Australian Playwright Louis Esson
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This paper traces W. B. Yeats’s bearings on the Australian playwright Louis Esson. The branching out of Yeats’s influence in discussion can be traced back to one single play, Cathleen Ni Houlihan (1902). Cathleen Ni Houlihan is structured by the twin formal factors, the diegetic-space centeredness, and the mimesis of the protagonist’s embodied reorientation, which together constitute what I call “the technique of spatialization.” What Esson takes from this play, by reconstruction, is not the perpetuation of Irish folklores, but the staging form of spatialization. This particular staging technique has been extensively adapted by Esson to offer the spectators the imagination of the hostile space of Australia in three one-act plays, including Dead Timber, The Sacred Place, and The Drovers. This essay looks at the global Yeats in these plays in the context of early twentieth-century Anglophone modernism and offers a way to explain how the (re)mapping of space is at stake in the playwriting for cultural nationalism.
Abstract
This paper traces W. B. Yeats’s bearings on the Australian playwright Louis Esson. The branching out of Yeats’s influence in discussion can be traced back to one single play, Cathleen Ni Houlihan (1902). Cathleen Ni Houlihan is structured by the twin formal factors, the diegetic-space centeredness, and the mimesis of the protagonist’s embodied reorientation, which together constitute what I call “the technique of spatialization.” What Esson takes from this play, by reconstruction, is not the perpetuation of Irish folklores, but the staging form of spatialization. This particular staging technique has been extensively adapted by Esson to offer the spectators the imagination of the hostile space of Australia in three one-act plays, including Dead Timber, The Sacred Place, and The Drovers. This essay looks at the global Yeats in these plays in the context of early twentieth-century Anglophone modernism and offers a way to explain how the (re)mapping of space is at stake in the playwriting for cultural nationalism.
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