Abstract
Any study of the Cuchulain plays must take into account Yeats’ ideas about how they should be acted and staged. Yeats subjected himself to a long, self-directed apprenticeship in the technical aspects of play production and for extended periods it became literally true that
Players and painted stage took all my love, And not those things that they were emblems of.1
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Notes
George Moore, Ave (New York: Boni & Liveright, 1923) pp. 32–3.
Clifford Bax, Florence Farr, Bernard Shaw and W. B. Yeats (Dublin: Cuala Press, 1941) p. 19.
Gerard Fay, The Abbey Theatre (London: Hollis & Carter, 1958) pp. 70–71.
W. G. Fay and Catherine Carswell, The Fays of the Abbey Theatre (New York: Harcourt, Brace & Co., 1935) p. 112.
Denis Bablet, Edward Gordon Craig (London: Heinemann, 1966) p. 110.
Edward Gordon Craig, Index to the Story of my Days (London: Hulton Press, 1957) p. 239.
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© 1974 Reg Skene
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Skene, R. (1974). Players and Painted Stage. In: The Cuchulain Plays of W. B. Yeats. Palgrave, London. https://doi.org/10.1007/978-1-349-02220-5_5
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DOI: https://doi.org/10.1007/978-1-349-02220-5_5
Publisher Name: Palgrave, London
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