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Abbey Theatre

   Also found in: Wikipedia, Hutchinson 0.04 sec.
Abbey Theatre, Irish theatrical company devoted primarily to indigenous drama. W. B. Yeats was a leader in founding (1902) the Irish National Theatre Society with Lady Gregory, J. M. Synge, and A. E. (George Russell) contributing their talents as directors and dramatists. In 1904, Annie Horniman gave them a subsidy and the free use of the Abbey Theatre in Dublin. The theater was bought for them by public subscription in 1910. Among dramatists whose works the Abbey Theatre first presented are Padraic Colum, Lennox Robinson, Sean O'Casey, and Paul Vincent Carroll. The theater is now in a new building constructed in 1966. In close association with Irish dramatists, the Abbey also has been an important instrument in the revival of Irish drama that began in the 1960s.

Bibliography

See Lady Gregory, Our Irish Theatre (1913), and her journals (ed. by L. Robinson, 1946); H. Hunt, The Abbey: Ireland's National Theatre, 1904–1978 (1979); P. Kavanagh, Story of the Abbey Theatre (1984); R. Welch, The Abbey Theatre, 1899–1999 (1999).


Abbey Theatre

Dublin theatre. It developed from the Irish Literary Theatre, founded in 1899 by William Butler Yeats and Lady Augusta Gregory to foster Irish drama. After moving the troupe to a renovated theatre on Abbey Street in 1904, they codirected its productions with John Millington Synge, staged their own plays, and commissioned works by Sean O'Casey and others. Important premieres included Synge's The Playboy of the Western World (1907) and O'Casey's The Plough and the Stars (1926). The Abbey became the first state-subsidized theatre in the English-speaking world in 1924. A fire destroyed the original playhouse in 1951, and a new theatre was built in 1966.


Abbey Theatre
home of famed Irish theatrical company. [Irish Hist.: NCE, 3]
See : Theater


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Then it was home to New York for a brief stop before taking ``The Guys,'' again with Robbins, to Dublin's Abbey Theatre and the Edinburgh Fringe Festival.
She met Yeats at that time, who insisted that she work on his Plays for Dancers at the Abbey Theatre in Dublin.
" The writers were "motivated by a decisive reinterpretation and reevaluation of the inherent theatrical qualities of black vernacular speech and distinctively black traditions" and "by a Herderian romanticization of the folk inspired chiefly by the successes of the Abbey Theatre and the Moscow Art Players in the years immediately preceding the 'negro renaissance'" (197).
 
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