Yeats, Beckett and Friel: Tradition or Counter-Tradition?
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Yeats argued that the mainstream tradition of Irish theatre was realist, and that his drama was the opposite; subjective rather than objective, anti-naturalistic and symbolic. This article traces the profound influence of Yeats's drama on the two greatest Irish playwrights to have emerged since his death: Samuel Beckett and Brian Friel. Beckett was present at the production of Yeats's last staged play, Purgatory, at Dublin's Abbey Theatre in 1938. Its impact is evident in the minimalist staging, stylisation and dramaturgy of Beckett's two great plays in the 1950s: Waiting for Godot and Endgame. Brian Friel quotes Yeats's poetry extensively in his 1966 play, The Loves of Cass McGuire but it is the impression of his dramaturgy that is stronger, in this play and throughout Friel's lengthy career. Particular attention is paid to the presence of live people on stage who turn out to be dead, one of the main ways Friel draws on Yeats to avoid 'the tawdry device of realism'. The article concludes that what was once the counter-tradition of Yeats is now the tradition of Irish theatre.
Abstract
Yeats argued that the mainstream tradition of Irish theatre was realist, and that his drama was the opposite; subjective rather than objective, anti-naturalistic and symbolic. This article traces the profound influence of Yeats's drama on the two greatest Irish playwrights to have emerged since his death: Samuel Beckett and Brian Friel. Beckett was present at the production of Yeats's last staged play, Purgatory, at Dublin's Abbey Theatre in 1938. Its impact is evident in the minimalist staging, stylisation and dramaturgy of Beckett's two great plays in the 1950s: Waiting for Godot and Endgame. Brian Friel quotes Yeats's poetry extensively in his 1966 play, The Loves of Cass McGuire but it is the impression of his dramaturgy that is stronger, in this play and throughout Friel's lengthy career. Particular attention is paid to the presence of live people on stage who turn out to be dead, one of the main ways Friel draws on Yeats to avoid 'the tawdry device of realism'. The article concludes that what was once the counter-tradition of Yeats is now the tradition of Irish theatre.
참고문헌 (23)
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