Une promise pour la licorne : quand Denis Johnston crève l’horizon de la scène irlandaise

Unlike his first two plays, Denis Johnston’s A Bride for the Unicorn, produced in 1933 at the Gate Theatre in Dublin, was not a success. It did not meet the audience’s or the critics’ expectations since the playwright aimed at redefining them. He endeavoured to create an orig...

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Main Author: Virginie Girel-Pietka
Format: Article
Language:English
Published: Presses universitaires de Rennes
Series:Revue LISA
Subjects:
Online Access:https://journals.openedition.org/lisa/6099
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author Virginie Girel-Pietka
author_facet Virginie Girel-Pietka
author_sort Virginie Girel-Pietka
collection DOAJ
description Unlike his first two plays, Denis Johnston’s A Bride for the Unicorn, produced in 1933 at the Gate Theatre in Dublin, was not a success. It did not meet the audience’s or the critics’ expectations since the playwright aimed at redefining them. He endeavoured to create an original piece of work, breaking away from the realistic drama which prevailed in Ireland at the time. Fraught with mythological references and hazy characters, the play was considered too complicated, even obscure, and vaguely moralistic. Examining the way Johnston turned his back on the Aristotelian tradition so as to usher Modernism onto the stage, this paper aims at showing that the play was rather meant to open up new aesthetic prospects for the Irish drama of its time. In the wake of World War I and the worldwide Great Depression, mimesis was out of fashion. The play therefore focused on the individual’s never-ending quest for identity, thus offering food for thought as regards the art of theatre.
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spelling doaj.art-b745501e631046e282138f5f354c177e2024-02-13T14:37:38ZengPresses universitaires de RennesRevue LISA1762-615312410.4000/lisa.6099Une promise pour la licorne : quand Denis Johnston crève l’horizon de la scène irlandaiseVirginie Girel-PietkaUnlike his first two plays, Denis Johnston’s A Bride for the Unicorn, produced in 1933 at the Gate Theatre in Dublin, was not a success. It did not meet the audience’s or the critics’ expectations since the playwright aimed at redefining them. He endeavoured to create an original piece of work, breaking away from the realistic drama which prevailed in Ireland at the time. Fraught with mythological references and hazy characters, the play was considered too complicated, even obscure, and vaguely moralistic. Examining the way Johnston turned his back on the Aristotelian tradition so as to usher Modernism onto the stage, this paper aims at showing that the play was rather meant to open up new aesthetic prospects for the Irish drama of its time. In the wake of World War I and the worldwide Great Depression, mimesis was out of fashion. The play therefore focused on the individual’s never-ending quest for identity, thus offering food for thought as regards the art of theatre.https://journals.openedition.org/lisa/6099modernismTheaterJohnston Denisidentity crisisquest for identity
spellingShingle Virginie Girel-Pietka
Une promise pour la licorne : quand Denis Johnston crève l’horizon de la scène irlandaise
Revue LISA
modernism
Theater
Johnston Denis
identity crisis
quest for identity
title Une promise pour la licorne : quand Denis Johnston crève l’horizon de la scène irlandaise
title_full Une promise pour la licorne : quand Denis Johnston crève l’horizon de la scène irlandaise
title_fullStr Une promise pour la licorne : quand Denis Johnston crève l’horizon de la scène irlandaise
title_full_unstemmed Une promise pour la licorne : quand Denis Johnston crève l’horizon de la scène irlandaise
title_short Une promise pour la licorne : quand Denis Johnston crève l’horizon de la scène irlandaise
title_sort une promise pour la licorne quand denis johnston creve l horizon de la scene irlandaise
topic modernism
Theater
Johnston Denis
identity crisis
quest for identity
url https://journals.openedition.org/lisa/6099
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