Chapter 4 investigates the social and political possibilities opened up by the (re)emergence of counter-modern modes of embodiment in the midst of a prominent institution of modernity: a national theatre. It argues that the apparently illegible behavioural patterns of the characters ‒ in The Playboy of the Western World, especially ‒ may be read as tangible traces of forms of embodiment that are incommensurate to modernity. While Synge’s dramatic writing sometimes flirts with stereotypical representations of the Irish body, it does so in order to better submit such representations to critical reappraisal. These forms of embodiment actualize alternative ways of being that both the colonial state and the proponents of middle-class, anti-colonial nationalism strove to suppress. The wild physicality associated with cultural practices, such as keening or faction fighting, stands in sharp contrast to the hegemonic and early twentieth century conception of the modern body. In Synge’s plays, these other expressions of corporeality offer traces of an alternative to the modernity of the (Abbey) theatre as an institution. They register the enduring recalcitrance of peasant popular culture and of ways of being that exist athwart modernity. In this, they allow for a vestigial survival and dissemination of alternative social and cultural possibilities.