Green Room Gossip


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English Theatrical Anecdotes, 1660-1800


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The essays in English Theatrical Anecdotes, 1660-1800 explore the theatrical anecdote’s role in the construction of stage fame in England’s emergent celebrity culture during the long eighteenth century, as well as the challenges of employing such anecdotes in theatre scholarship today. This collection showcases scholarship that complicates the theatrical anecdote and shows its many sides and applications beyond the expected comic punch. Discussing anecdotal narratives about theatre people as producing, maintaining, and sometimes toppling individual fame, this book crucially investigates a key mechanism of celebrity in the long eighteenth century that reaches into the nineteenth century and beyond. The anecdote erases boundaries between public and private and fictionalizing the individual in ways deeply familiar to twenty-first century celebrity culture.




A Dictionary of the Drama


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The Green Room Book


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The Green Room Book


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My Father's Son


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O'Connor is a young writer struggling to find his place and his voice in a profoundly changed Ireland. Gradually, he begins to establish a formidable reputation. Guests of the Nation and The Saint and Mary Kate belong to this period. The excitement of the Irish literary renaissance is made immediate as O'Connor tells of his friend the poet George Russell, who was the first to publish his work, and of his participation in the triumphs and rivalries of the Abbey Theatre. Here, beautifully rendered, are playwrights Lady Gregory, J. M. Synge, Lennox Robinson, and Sean O'Casey. Central to the book—as he was to O'Connor's life and work—is the complex and majestic figure of William Butler Yeats. The memoir ends with Yeats's death and with it O'Connor's realization that he can no longer divide his talent between his job and his passion. He begins, at last, his life as a writer.




The Autobiography


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Frank O’Connor’s acclaimed autobiography, now in one volume When Frank O’Connor was born, his parents—Minnie O’Connor, a former maid raised in an orphanage, and Michael O’Donovan, a veteran of the Boer War and the drummer in a local brass-and-reed band—lived above a sweet-and-tobacco shop in Cork, Ireland. The young family soon moved, however, to a two-room cottage at the top of Blarney Street, a lane that originates, as O’Connor so vividly describes it, “near the river-bank, in sordidness, and ascends the hill to something like squalor.” From this unlikely beginning, a poor boy born Michael Francis Xavier O’Donovan set out on the remarkable journey that transformed him into Frank O’Connor, one of Ireland’s greatest writers. An Only Child, the first installment of O’Connor’s wonderfully evocative autobiography, captures the joy and pain of his early years: joy in the colorful people and places of Cork and in his devoted relationship with his mother, pain in the family’s impoverished situation and in his father’s melancholy moods and drunken outbursts. Fifteen years old when he joins the Irish Republican Army in the fight for independence, O’Connor finds himself on the losing side of the ensuing civil war and is imprisoned by the government of the new nation. My Father’s Son begins with his release from an internment camp and follows him to Dublin and the world-renowned Abbey Theatre, where he meets W. B. Yeats, J. M. Synge, and other members of the Irish Literary Revival, and takes the first steps toward becoming one of the twentieth century’s most beloved authors. As richly detailed and eloquent as the best of his short fiction, Frank O’Connor’s autobiography is an entertaining portrait of a fascinating time and place, and the inspiring account of a young artist finding his voice.