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References in periodicals archive ?
The Abbey Theatre, originally called the Irish Literary Theatre, and later The National Theatre Society, set out to create a body of work that would move outside the narrow realm of political divisiveness.
The theatre's advisory council recently passed resolutions allowing the dissolution of the National Theatre Society and its replacement by a new limited company without shareholders.
Two symbolic events might be the art exhibition masterminded by Hugh Lane in the Guildhall in 1904, bringing Irish painters to London, and the wildly successful visit to the capital of the Irish National Theatre Society (just about to be reconstituted as the Abbey Theatre), presenting radically economical new plays by Yeats and Synge.
However, when William Butler Yeats, one of the leading forces behind the foundation of both the Irish Literary Theatre (1899-1901) and the Irish National Theatre Society (1903), heard about the Ulstermen's artistic project, he would not allow them to use one of his companies' names and forbade them from staging dramas he was in the process of copyrighting.
By 1902 Yeats had joined with other literary figures to establish first the Irish Literary Theatre and then the Irish National Theatre Society (later the Abbey Theater).
In this first volume Foster, Carroll Professor of Irish History at the University of Oxford, limits himself to the "young" Yeats--poet of the Celtic Twilight, occasional speaker, serious dramatist, and one of the founders in 1897 of the Irish Literary Theatre, which evolved into the Irish National Theatre Society and then into the Abbey Theatre.
He gains experience as an orator on a punishing lecture tour of North America, and as a controversialist in the battles to defend the Irish Literary Theatre and Irish National Theatre Society against moralistic or Nationalist censorship; a hard-headed resoluteness likewise informs his negotiations with publishers.
Each (always misspelled) person whom Yeats meets, from the editors of London literary journals, the actors in the emergent Irish National Theatre Society, the countless people encountered across America - like the 'big priests' of the University of Notre Dame whom Yeats especially enjoyed - are all correctly spelled, dated, and given concise biographies in the footnotes.
The movement itself had two major developments: the activities of the Gaelic League, an organization founded in 1893 by Douglas Hyde to restore Gaelic as the official language of Ireland; and the formation of the Irish National Theatre Society in 1901, out of which grew the famous Abbey Theatre Company.
Other topics that preoccupied Yeats during the period were the Maud Gonne-Major MacBride divorce case (1905), the aftermath of the Shadow controversy (1905), the Abbey players' Scottish and English tours (summer 1906), the secession of some of the actors and writers from the original Irish National Theatre Society to form the rival Theatre of Ireland company (1906), the controversy over the Lane pictures, and the protracted correspondence with Miss Horniman over her growing disenchantment with the Irish players (passim).
Christopher Murray regards the nation's drama and a "national consciousness" as inextricably bound together; he locates the beginning of the genre in the creative stirrings of the 1890s that led to the founding of a National Theatre Society, followed by the founding of a nation.
Forty years later he was presented with a Gradam medal, the National Theatre Society's most prestigious award, for his "considerable contribution" to Irish theatre.
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