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The Abbey Theatre, 1899-1999Form and Pressure$
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Robert Welch

Print publication date: 1999

Print ISBN-13: 9780198121879

Published to Oxford Scholarship Online: October 2011

DOI: 10.1093/acprof:oso/9780198121879.001.0001

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1902–1910: ‘Screeching in a straightened waistcoat’

1902–1910: ‘Screeching in a straightened waistcoat’

Chapter:
(p.18) 2 1902–1910: ‘Screeching in a straightened waistcoat’
Source:
The Abbey Theatre, 1899-1999
Author(s):

Robert Welch

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780198121879.003.0002

In this chapter, the relationship between George Moore and Yeats is described. While they had a very tumultuous working association, especially on the Diarmuid and Grania, they discussed the idea of collaborating on a plot that revolved around a religious zealot who rejects ordinary life, who tries to reform the practices of common belief. This working relationship took a bad turn when Moore threatened to send an injunction if Yeats were to use the plot that Moore believed was his. Yeats, in retort, wrote Where There is Nothing, with the help of Lady Gregory, and had it published. Attempts at reconciling Yeats and Moore failed, giving rise to Moore's Hail and Farewell, and Yeats' Autobiographies and the concluding verses of the volume Responsibilities. Yeats made use of the theatre to experiment with techniques. He experimented with chanting, drawing influences from the occultism and the desire to express words released from ordinariness. This chapter also states that Yeats recognized the Fays, a company of Irish actors.

Keywords:   Diarmuid and Grania, Where There is Nothing, Autobiographies, Responsibilities, Fays, George Moore, experiment

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