Abstract

Since 1996, with the premiere of his play, The Beauty Queen of Leenane, Martin McDonagh has emerged as one of the most powerful young voices in the English-speaking theater world. The Pillowman is his most philosophical work. It is a meta-theatrical exercise that obliquely addresses the question of whether theater (and, by extension, literature) can be justified in anything that it says. Or, instead, are some things out of bounds, perhaps sometimes warranting regulation?

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Additional Information

ISSN
1086-329X
Print ISSN
0190-0013
Pages
pp. 168-181
Launched on MUSE
2011-04-29
Open Access
No
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