Saint Behan
This essay examines Brendan Behan's evolution as a dramatist, linking him to the tradition of O'Casey's urban theatre, particularly Juno and the Paycock , and emphasising his closeness to the experimental drama of his near contemporary, Samuel Beckett. It details how subversively Beha...
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| Veröffentlicht in: | Irish university review 2014-05, Vol.44 (1), p.78-91 |
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| container_title | Irish university review |
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| creator | McGuinness, Frank |
| description | This essay examines Brendan Behan's evolution as a dramatist, linking him to the tradition of O'Casey's urban theatre, particularly
Juno and the Paycock
, and emphasising his closeness to the experimental drama of his near contemporary, Samuel Beckett. It details how subversively Behan used both music and the Gaelic language in sexualizing the story of
The Quare Fellow
, how he censors such radical departures in
An Giall
, and how
The Hostage
in its wild exuberance restores Behan to the status of a most dangerously liberated dramatist. Finally it looks at the influence of Behan on his most significant follower, the openly queer English playwright, Joe Orton. |
| doi_str_mv | 10.3366/iur.2014.0104 |
| format | Article |
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Juno and the Paycock
, and emphasising his closeness to the experimental drama of his near contemporary, Samuel Beckett. It details how subversively Behan used both music and the Gaelic language in sexualizing the story of
The Quare Fellow
, how he censors such radical departures in
An Giall
, and how
The Hostage
in its wild exuberance restores Behan to the status of a most dangerously liberated dramatist. Finally it looks at the influence of Behan on his most significant follower, the openly queer English playwright, Joe Orton.</description><identifier>ISSN: 0021-1427</identifier><identifier>EISSN: 2047-2153</identifier><identifier>DOI: 10.3366/iur.2014.0104</identifier><language>eng</language><publisher>UK: Edinburgh University Press</publisher><subject>Beckett, Samuel (1906-1989) ; Dramatists ; LGBTQ studies ; Literary Studies</subject><ispartof>Irish university review, 2014-05, Vol.44 (1), p.78-91</ispartof><rights>Edinburgh University Press 2014</rights><rights>Edinburgh University Press, 2014</rights><rights>Copyright Edinburgh University Press May 2014</rights><lds50>peer_reviewed</lds50><woscitedreferencessubscribed>false</woscitedreferencessubscribed><citedby>FETCH-LOGICAL-c332t-527dda7902ccf12d336c06386f2e2bcc4638fbbc83ffbf57ec047d4e38a3ab703</citedby></display><links><openurl>$$Topenurl_article</openurl><openurlfulltext>$$Topenurlfull_article</openurlfulltext><thumbnail>$$Tsyndetics_thumb_exl</thumbnail><linktopdf>$$Uhttps://www.jstor.org/stable/pdf/24577077$$EPDF$$P50$$Gjstor$$H</linktopdf><linktohtml>$$Uhttps://www.jstor.org/stable/24577077$$EHTML$$P50$$Gjstor$$H</linktohtml><link.rule.ids>314,776,780,799,27901,27902,57992,58225</link.rule.ids></links><search><creatorcontrib>McGuinness, Frank</creatorcontrib><title>Saint Behan</title><title>Irish university review</title><description>This essay examines Brendan Behan's evolution as a dramatist, linking him to the tradition of O'Casey's urban theatre, particularly
Juno and the Paycock
, and emphasising his closeness to the experimental drama of his near contemporary, Samuel Beckett. It details how subversively Behan used both music and the Gaelic language in sexualizing the story of
The Quare Fellow
, how he censors such radical departures in
An Giall
, and how
The Hostage
in its wild exuberance restores Behan to the status of a most dangerously liberated dramatist. Finally it looks at the influence of Behan on his most significant follower, the openly queer English playwright, Joe Orton.</description><subject>Beckett, Samuel (1906-1989)</subject><subject>Dramatists</subject><subject>LGBTQ studies</subject><subject>Literary Studies</subject><issn>0021-1427</issn><issn>2047-2153</issn><fulltext>true</fulltext><rsrctype>article</rsrctype><creationdate>2014</creationdate><recordtype>article</recordtype><recordid>eNqFj81LxDAQxYMoWKtHj4LgOXUySZvuURe_YMGDeg5Jmrgt2takPfjfm1Lx6mlmeD_em0fIOYOC86q6budQIDBRAANxQDIEISmykh-SDAAZZQLlMTmJsUsn1rzOSP6i2366vHV73Z-SI68_ojv7nTl5u7973T7S3fPD0_ZmRy3nONESZdNouQG01jNsUraFiteVR4fGWpF2b4ytuffGl9LZ9EcjHK8110YCz8nV6juG4Wt2cVLdMIc-RSospYRqw1iVKLpSNgwxBufVGNpPHb4VA7X0VamvWvqqpW_iL1a-i9MQ_mAUi6WUSRer7pq2N3N4389jcDH-Y_sDnOJhXw</recordid><startdate>20140501</startdate><enddate>20140501</enddate><creator>McGuinness, Frank</creator><general>Edinburgh University Press</general><general>Edinburgh University Press Ltd</general><scope>AAYXX</scope><scope>CITATION</scope><scope>C18</scope></search><sort><creationdate>20140501</creationdate><title>Saint Behan</title><author>McGuinness, Frank</author></sort><facets><frbrtype>5</frbrtype><frbrgroupid>cdi_FETCH-LOGICAL-c332t-527dda7902ccf12d336c06386f2e2bcc4638fbbc83ffbf57ec047d4e38a3ab703</frbrgroupid><rsrctype>articles</rsrctype><prefilter>articles</prefilter><language>eng</language><creationdate>2014</creationdate><topic>Beckett, Samuel (1906-1989)</topic><topic>Dramatists</topic><topic>LGBTQ studies</topic><topic>Literary Studies</topic><toplevel>peer_reviewed</toplevel><toplevel>online_resources</toplevel><creatorcontrib>McGuinness, Frank</creatorcontrib><collection>CrossRef</collection><collection>Humanities Index</collection><jtitle>Irish university review</jtitle></facets><delivery><delcategory>Remote Search Resource</delcategory><fulltext>fulltext</fulltext></delivery><addata><au>McGuinness, Frank</au><format>journal</format><genre>article</genre><ristype>JOUR</ristype><atitle>Saint Behan</atitle><jtitle>Irish university review</jtitle><date>2014-05-01</date><risdate>2014</risdate><volume>44</volume><issue>1</issue><spage>78</spage><epage>91</epage><pages>78-91</pages><issn>0021-1427</issn><eissn>2047-2153</eissn><abstract>This essay examines Brendan Behan's evolution as a dramatist, linking him to the tradition of O'Casey's urban theatre, particularly
Juno and the Paycock
, and emphasising his closeness to the experimental drama of his near contemporary, Samuel Beckett. It details how subversively Behan used both music and the Gaelic language in sexualizing the story of
The Quare Fellow
, how he censors such radical departures in
An Giall
, and how
The Hostage
in its wild exuberance restores Behan to the status of a most dangerously liberated dramatist. Finally it looks at the influence of Behan on his most significant follower, the openly queer English playwright, Joe Orton.</abstract><cop>UK</cop><pub>Edinburgh University Press</pub><doi>10.3366/iur.2014.0104</doi><tpages>14</tpages></addata></record> |
| fulltext | fulltext |
| identifier | ISSN: 0021-1427 |
| ispartof | Irish university review, 2014-05, Vol.44 (1), p.78-91 |
| issn | 0021-1427 2047-2153 |
| language | eng |
| recordid | cdi_crossref_primary_10_3366_iur_2014_0104 |
| source | Jstor Complete Legacy |
| subjects | Beckett, Samuel (1906-1989) Dramatists LGBTQ studies Literary Studies |
| title | Saint Behan |
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