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It is almost ninety years since the Easter Rising in Dublin, yet in this time little has been written about the continuing cultural impact of the rebellion. In Staging the Easter Rising James Moran shows how different versions of 1916 have been retold by an assortment of Irish dramatists. The book devotes particular attention to works by Sean O'Casey, W. B. Yeats, and G. B. Shaw, but also examines a range of less well known plays, films, and public commemorations.
Moran argues that representations of the Eater Rising have often included a focus on sex, gender, and reproduction. The rebels of 1916 had an ambiguous attitude towards sexual politics and the women's suffrage movement and later dramatists were able to reinvent and reappraise this ambiguity in accordance with subsequent mores and opinions. As a result, representations of 1916 have variously connected the Rising with sacrificial motherhood, adultery eugenics, Catholicism, homosexuality, and feminism.
Staging the Easter Rising also reveals the problematic relationship between democratic republicanism and revolutionary elitism. Moran shows that the rebels aimed to gain a retrospective popular mandate for their actions by treating the populace like an audience in the theatre, but contends that, in the hands of a dramatist like Yeats, the Rising could be invoked to undermine democracy.
Moran argues that representations of the Eater Rising have often included a focus on sex, gender, and reproduction. The rebels of 1916 had an ambiguous attitude towards sexual politics and the women's suffrage movement and later dramatists were able to reinvent and reappraise this ambiguity in accordance with subsequent mores and opinions. As a result, representations of 1916 have variously connected the Rising with sacrificial motherhood, adultery eugenics, Catholicism, homosexuality, and feminism.
Staging the Easter Rising also reveals the problematic relationship between democratic republicanism and revolutionary elitism. Moran shows that the rebels aimed to gain a retrospective popular mandate for their actions by treating the populace like an audience in the theatre, but contends that, in the hands of a dramatist like Yeats, the Rising could be invoked to undermine democracy.
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