Abstract
In a period when the stereotype of womanhood in Irish drama was determined by political influences, and the male figure was the sole representation of the active force of humanity, Sean O’Casey’s women were a type of subject which was apparently non-existent, even though they demonstrated the real significance of the power they withheld among their families and communities. In Juno and the Paycock (1924), the playwright surprises the audience by staging representations of Dublin tenement women which subvert the prevailing image of powerless females in Irish drama. O’Casey’s female characters, Juno and Mary, undergo a process of strengthening which enables them to surpass domineering structural forces and challenge conservative and oppressive gender expectations about power. They are depicted as being imperfect, just as men are, but they are also representations of autonomous individuals who embody characteristics that lead us to envisage female empowerment. This article seeks to demonstrate that when applying notions of personal empowerment, O’Casey’s play confers visibility and appropriate representation to those strong marginalised women.
Highlights
In a period when the stereotype of womanhood in Irish drama was determined by political influences, and the male figure was the sole representation of the active force of humanity, Sean O’Casey’s women were a type of subject which was apparently non-existent, even though they demonstrated the real significance of the power they withheld among their families and communities
The female representations configure an assumed deconstruction of the Irish traditional order considering that, to some extent, these female characters act as subversive elements, since they undergo a strengthening process in which they overtake conventional masculine representations
Juno and the Paycock was performed at the Abbey for the first time in 1924 and was extremely successful after its premiere
Summary
In a period when the stereotype of womanhood in Irish drama was determined by political influences, and the male figure was the sole representation of the active force of humanity, Sean O’Casey’s women were a type of subject which was apparently non-existent, even though they demonstrated the real significance of the power they withheld among their families and communities. Much of Juno’s agency and strength are communicated through her actions and interaction with other characters, whereas Boyle lives in his own world of fantasy and is indifferent to what takes place around him: “that’s enough about them things; they don’t affect us, an’ we needn’t give a damn.
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