The Irish dramatist Sean O'Casey (1880-1964) is considered the greatest of the Irish playwrights who began writing after World War I.
Sean O'Casey was born John Casey on March 31, 1880, the youngest of a large family living in a Dublin slum. He suffered all his life from painful.However, his later socialist and pacificist convictions, his disenchantment with the results of Irish independence, and his professional disappointment concerning the poor reception of his plays led him to leave Ireland in 1926.
O’Casey became caught up in the cause of Irish nationalism, and he changed his name to its Irish form and learned Gaelic. His attitudes were greatly influenced by the poverty and squalor he witnessed in Dublin’s slums and by the teachings of the Irish labour leader Jim Larkin. O’Casey became active in the labour movement and wrote for the Irish Worker. He also joined the Irish Citizen Army, a paramilitary arm of the Irish labour unions, and drew up its constitution in 1914. At this time he became disillusioned with the Irish nationalist movement because its leaders put nationalist ideals before socialist ones. O’Casey did not take part in the 1916 Easter Rising against the British authorities.
Career as a Dramatist
Not until O'Casey had experienced life as a political rebel, poet, laborer, and fighter for Irish independence did he finally discover his true profession as a playwright. His first three attempts at drama were rejected by the Abbey Theatre, but his fourth, The Shadow of a Gunman (1923), was an immediate success. His later plays, Cathleen Listens In (1923) and the tragicomic masterpiece Juno and the Paycock (1924), saved the Abbey from near bankruptcy and placed it on a secure financial footing.
Later Plays
The Silver Tassie (1928), marked a distinct change from the earlier earthy plays with their realistic humor and tragedy. This play progressed from naturalistic farce in the first act to pure expressionism in the second; the remaining two acts combined farce and grim tragedy in the symbolist mode.
The Star Turns Red (1939) was avowedly communistic, although O'Casey in his autobiography later described himself as "a voluntary and settled exile from every creed, from every party, and from every literary clique."
His experimental dramas, Red Roses for Me (1942) and Cock-a-Doodle Dandy (1949), show his increasing reliance on symbolism and fantasy.
The Bishop's Bonfire, produced in Dublin in 1955, was described by O'Casey as a play about "the ferocious chastity of the Irish, a lament for the condition of Ireland, which is an apathetic country now."
O'Casey's autobiography is contained in six volumes: I Knock at the Door (1939), Pictures in the Hallway (1942), Drums under the Window (1945), Inishfallen, Fare Thee Well (1949), Rose and Crown (1952), and Sunset and Evening Star (1954). His attitude toward Ireland seemed to have softened somewhat before his death in England on Sept. 18, 1964.
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