Melinda Szüts


Compared to Yeats’s popularity and worldwide recognition as a poet, literary genius and public ÿgure, his achievements as a playwright, dramaturge and theater-maker are still relatively unknown to the broader public. Even though there have been several attempts both in criticism and in the professional and amateur theater scene to bring Yeatsian drama closer to readers and spectators, on a more global scale these plays can never really reach the level of popularity they deserve. Whereas the most valuable critical work by such scholars as James Flannery, Karen Dorn, Katharine Worth, Richard Allen Cave, Masaru Sekine, and more recently Alexandra Poulain, Chris Morash, Shaun Richards, Michael McAteer or Yoko Sato, have all contributed to culti-vate and revitalise the discourse on Yeats’s plays, the relatively slim number of Yeats productions on the world’s stages bear witness to misjudgements of their value as performance texts.