The Playboy Of The Western World A New Version

Bisi Adigun and Roddy Doyle’s centenary adaption of J. M. Synge’s classic The Playboy of the Western World had a sold-out run when it was produced at Dublin’s Abbey Theatre in 2007 and was brought back by popular demand in 2008. The new version is set in a contemporary Dublin pub and features the character of a Nigerian asylum-seeker in the lead role. Under the coauthorship of Bisi Adigun, artistic director of Arambe Productions—Ireland’s first African theater company—and best-selling, Booker Prize–winning novelist Roddy Doyle, the play engages with issues of race and immigration in modern Ireland and, when first released, aimed to be a model for intercultural collaboration. This critical edition features the full text of the play, published for the first time, along with a collection of essays exploring the play’s themes, cultural significance, critical reception, and the legal case that cut short its successful production run. Though the play was first produced over a decade ago, the topic of migration has only increased in its global importance over that time, and this adaptation of Playboy remains a popular touchstone among scholars of Irish theater and immigration.

DigiCat Publishing presents to you this special edition of "The Playboy of the Western World" (A Comedy in Three Acts) by J. M. Synge. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.

On a quiet autumn evening, the inhabitants of Flaherty’s ramshackle pub are interrupted by the arrival of Christy Mahon, a fugitive claiming to have murdered his father. Enamoured by his story, the whole village soon find themselves toasting Christy as a hero, whilst Flaherty’s daughter Pegeen falls in love with his roguish charm. However, an unexpected arrival from Christy’s past threatens to collapse his newfound fame. J.M. Synge’s ‘The Playboy of the Western World’ (1907) is a hilarious three-act play that honours the Irish lyrical speech. A highly controversial play of its time, riots formed on the opening night of the play to protest what they saw as offensive content that mocked the Irish. As Synge’s most popular play it has had numerous adaptations on stage and screen. The play is riveting, with central character Christy Mahon playing like a cross between ‘Harry Potter’s’ Gilderoy Lockhart and Jim Carrey’s Truman from ‘The Truman Show’. For any fans of comedy, or for those who are looking to understand more about the beauty of the Irish dialect, ‘The Playboy of the Western World’ is a must read! Edmund John Millington Synge (1871 – 1909) was an Irish poet, playwright, and a defining figure of the Irish Literary Revival. Born in County Dublin to upper-middle-class Protestants and suffered from Hodgkin’s disease which led to his home-schooling. Soon after graduating from Trinity College Dublin, Synge became a renowned poet and playwright, but his success was short-lived as he passed away from cancer at 37. He is best remembered for his play ‘The Playboy of the Western World’, an incredibly controversial work at the time of its publication and performance. Regarded by Yeats as ‘the greatest dramatic genius of Ireland’, Synge has held a lasting legacy, being a key influence for acclaimed Irish playwright Samuel Beckett and the subject of Joseph O’Connor’s novel ‘Ghost Light’ (2010).

Comedy in three acts by J.M. Synge, published and produced in 1907. It is a masterpiece of the Irish Literary Renaissance. This most famous of Synge's works fused the patois of ordinary Irish villagers with Synge's sophisticated rhetoric and enraged Irish playgoers with its satire of Irish braggadocio. The play follows the mercurial rise and fall of the character Christy Mahon, whose self-reported murder of his father earns him much admiration until his father shows up alive and in pursuit of his cowardly son. --The Merriam-Webster Encyclopedia of Literature.

This book investigates Ireland’s translation of interculturalism as social policy into aesthetic practice and situates the wider implications of this ‘new interculturalism’ for theatre and performance studies at large. Offering the first full-length, post-1990s study of the effect of large-scale immigration and interculturalism as social policy on Irish theatre and performance, McIvor argues that inward-migration changes most of what can be assumed about Irish theatre and performance and its relationship to national identity. By using case studies that include theatre, dance, photography, and activist actions, this book works through major debates over aesthetic interculturalism in theatre and performance studies post-1970s and analyses Irish social interculturalism in a contemporary European social and cultural policy context. Drawing together the work of professional and community practitioners who frequently identify as both artists and activists, Migration and Performance in Contemporary Ireland proposes a new paradigm for the study of Irish theatre and performance while contributing to the wider investigation of migration and performance.

Synge, who came from a middle-class Protestant family near Dublin, created a huge scandal at the Abbey Theatre in Dublin, where The Playboy was staged in 1907, because its audience did not take kindly to a comedy that seemed to portray the Irish as violent, superstitious sots and swaggerers. Synge relied on and at the same time mocked the Irish dramatic movement and its ambition to create realistic drama that was also poetically beautiful. The play is set 'near a village, on a wild coast of Mayo'. On the first day, a stranger arrives and declares that he is on the run because he has killed his father - for this, the villagers turn him into a hero. On the second day, however, his father arrives walking wounded, and although Christy knocks him down with a spade, his father seems impossible to kill. The set off together, still quarrelling, and the villagers are bereft of their excitement.

This book uses the social transformation that has taken place in Ireland from the decriminalisation of homosexuality in 1993 to the repeal of the 8th amendment in 2018 as backdrop to examine relationships between activism and contemporary Irish theatre and performance. It studies art explicitly intended to create social and political change for marginalised constituencies. It asks what happens to theatre aesthetics when artists’ aims are political and argues that activist commitments can create new modes of beauty, meaning, and affect. Categories of race, class, sexuality, and gender frame chapters, provide social context, and identify activist artists’ social targets. This book provides in depth analysis of: Arambe – Ireland’s first African theatre company; THEATREclub – an experimental collective with issues of class at its heart; The International Dublin Gay Theatre Festival; and feminist artists working to Repeal the 8th amendment. It highlights the aesthetic strategies that emerge when artists set their sights on justice. Aesthetic debates, both historical and contemporary, are laid out from first principles, inviting readers to situate themselves – whether as artists, activists, or scholars – in the delicious tension between art and life. This book will be a vital guide to students and scholars interested in theatre and performance studies, gender studies, Irish history, and activism.

The writers in this text seek to reconcile the established critical perspectives of Irish studies with a forward-looking critical momentum that incorporates the realities of globalisation and economic migration.