The Dramaturgy of Yeats’s Calvary
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Yeats’s Calvary is a unique Passion play with an interesting use of chorus. Yeats resorts to the traditional way of employing the chorus to a certain extent, but the meanings of the songs and the action in it are more intricately connected than in traditional drama. The imagery of the birds depicted in the songs offers another dimension to the interpretation of the subjectivity and objectivity of the play’s world.
Abstract
Yeats’s Calvary is a unique Passion play with an interesting use of chorus. Yeats resorts to the traditional way of employing the chorus to a certain extent, but the meanings of the songs and the action in it are more intricately connected than in traditional drama. The imagery of the birds depicted in the songs offers another dimension to the interpretation of the subjectivity and objectivity of the play’s world.
참고문헌 (9)
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- Jochum, Klaus Peter, "Music of a Lost Kingdom: W. B. Yeats and the Japanese No Drama", A Journal of Irish Studies, 2, pp.93~108 (2012)
- Moore, John R., "Cuchulain, Christ, and the Queen of Love: Aspects of Yeatsian Drama", The Tulane Drama Review, 6(3), pp.150~159 (1962)
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- Shower, Zac, "Crazed by the Moon: The Duality of the Heron in Yeats’s Calvary", Yeats Eliot Review, 23(1), pp.3~12 (2006)
- Staub, August W, "The ‘Unpopular Theatre’ of W. B. Yeats", Quaterly Journal of Speech, 47(4), pp.363~371 (1961)
- Ure, Peter, "Yeats’s Christian Mystery Plays", The Review of English Studies, 11(42), pp.171~182 (1960)
- Yeats, W. B., "Assisted by Catharine C. Alspach" (1965), Macmillan