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Hegemony and Fantasy in Irish Drama, 1899-1949 by P. Murphy Pdf
Hegemony and Fantasy in Irish Drama, 1899-1949 offers a theoretically innovative reconsideration of drama produced in the Irish Renaissance, as well as an engagement with non-canonical drama in the under-researched period 1926-1949.
This book deals with the process of negotiation with the past in the present through the plays of Marina Carr. The title frames the work, connoting the path towards destruction and the sense of lethargy acquired along the way. The book offers an in-depth and extensive reading of Carr's plays. In doing so, it surveys some of the destructive issues represented in the works and provides a series of social and cultural contexts to which the concerns in the works are related. Carr is best known for her trilogy, The Mai, Portia Coughlan and By the Bog of Cats..., and more recently Woman and Scarecrow, The Cordelia Dream and Marble. The plays are regularly concerned with notions of identity in the context of self-destruction, self-estrangement and displacement. This book applies Julia Kristeva's theory of abjection to Carr's plays in an effort to structure the loss the author identifies in the works. Themes of memory, history and myth are examined in the context of these concerns in provocative and confrontational ways.
The Irish Dramatic Revival 1899-1939 by Anthony Roche Pdf
The Irish Dramatic Revival was to radically redefine Irish theatre and see the birth of Ireland's national theatre, the Abbey, in 1904. From a consideration of such influential precursors as Boucicault and Wilde, Anthony Roche goes on to examine the role of Yeats as both founder and playwright, the one who set the agenda until his death in 1939. Each of the major playwrights of the movement refashioned that agenda to suit their own very different dramaturgies. Roche explores Synge's experimentation in the creation of a new national drama and considers Lady Gregory not only as a co-founder and director of the Abbey Theatre but also as a significant playwright. A chapter on Shaw outlines his important intervention in the Revival. O'Casey's four ground-breaking Dublin plays receive detailed consideration, as does the new Irish modernism that followed in the 1930s and which also witnessed the founding of the Gate Theatre in Dublin. The Companion also features interviews and essays by leading theatre scholars and practitioners Paige Reynolds, P.J. Mathews and Conor McPherson who provide further critical perspectives on this period of radical change in modern Irish theatre.
Shaw emerged as a playwright in the politically charged environment of 1892, for both female suffrage and Irish independence. His plays quickly advocated for societal changes with regard to women’s roles, while expanding this advocacy into considerations of Ireland. Shaw’s engagement with marriage and union as a personal contract with nationhood have never before been considered as a methodology with which to view his work. This book demonstrates that Shaw was deeply engaged with and committed to the Irish question and to social and gender issues.
Masculinities and the Contemporary Irish Theatre by B. Singleton Pdf
Irish theatre and its histories appear to be dominated by men and their actions. This book's socially and culturally contextualized analysis of performance over the last two decades, however reveals masculinities that are anything but hegemonic, played out in theatres and other arenas of performance all over Ireland.
Irish Drama, Modernity and the Passion Play by Alexandra Poulain Pdf
This book discusses Irish Passion plays (plays that rewrite or parody the story of the Passion of Christ) in modern Irish drama from the Irish Literary Revival to the present day. It offers innovative readings of such canonical plays as J. M. Synge’s The Playboy of the Western World, W. B. Yeats’s Calvary, Brendan Behan’s The Hostage, Samuel Beckett’s Endgame, Brian Friel’s Faith Healer and Tom Murphy’s Bailegangaire, as well as of less well-known plays by Padraic Pearse, Lady Gregory, G. B. Shaw, Seán O’Casey, Denis Johnston, Samuel Beckett and David Lloyd. Challenging revisionist readings of the rhetoric of “blood sacrifice” and martyrdom in the Irish Republican tradition, it argues that the Passion play is a powerful political genre which centres on the staged death of the (usually male) protagonist, and makes visible the usually invisible violence perpetrated both by colonial power and by the postcolonial state in the name of modernity.
The Oxford Handbook of Modern Irish Theatre by Nicholas Grene,Chris Morash Pdf
The Oxford Handbook of Modern Irish Theatre provides the single most comprehensive survey of the field to be found in a single volume. Drawing on more than forty contributors from around the world, the book addresses a full range of topics relating to modern Irish theatre from the late nineteenth-century theatre to the most recent works of postdramatic devised theatre. Ireland has long had an importance in the world of theatre out of all proportion to the size of the country, and has been home to four Nobel Laureates (Yeats, Shaw, and Beckett; Seamus Heaney, while primarily a poet, also wrote for the stage). This collection begins with the influence of melodrama, looks at arguably the first modern Irish playwright, Oscar Wilde, before moving into a series of considerations of the Abbey Theatre, and Irish modernism. Arranged chronologically, it explores areas such as women in theatre, Irish-language theatre, and alternative theatres, before reaching the major writers of more recent Irish theatre, including Brian Friel and Tom Murphy, and their successors. There are also individual chapters focusing on Beckett and Shaw, as well as a series of chapters looking at design, acting and theatre architecture. The book concludes with an extended survey of the critical literature on the field. In each chapter, the author does not simply rehearse accepted wisdom; all of the authors push the boundaries of their respective fields, so that each chapter is a significant contribution to scholarship in its own right.
Irish Drama and Theatre Since 1950 by Patrick Lonergan Pdf
Drawing on major new archival discoveries and recent research, Patrick Lonergan presents an innovative account of Irish drama and theatre, spanning the past seventy years. Rather than offering a linear narrative, the volume traces key themes to illustrate the relationship between theatre and changes in society. In considering internationalization, the Troubles in Northern Ireland, the Celtic Tiger period, feminism, and the changing status of the Catholic Church in Ireland, Lonergan asserts the power of theatre to act as an agent of change and uncovers the contribution of individual artists, plays and productions in challenging societal norms. Irish Drama and Theatre since 1950 provides a wide-ranging account of major developments, combined with case studies of the premiere or revival of major plays, the establishment of new companies and the influence of international work and artists, including Tennessee Williams, Chekhov and Brecht. While bringing to the fore some of the untold stories and overlooked playwrights following the declaration of the Irish Republic, Lonergan weaves into his account the many Irish theatre-makers who have achieved international prominence in the period: Samuel Beckett, Siobhán McKenna and Brendan Behan in the 1950s, continuing with Brian Friel and Tom Murphy, and concluding with the playwrights who emerged in the late 1990s, including Martin McDonagh, Enda Walsh, Conor McPherson, Marie Jones and Marina Carr. The contribution of major Irish companies to world theatre is also examined, including both the Abbey and Gate theatres, as well as Druid, Field Day and Charabanc. Through its engaging analysis of seventy years of Irish theatre, this volume charts the acts of gradual but revolutionary change that are the story of Irish theatre and drama and of its social and cultural contexts.
A History of Irish Working-Class Writing by Michael Pierse Pdf
"Michael Pierse is Lecturer in Irish literature at Queen's University Belfast. His research mainly explores the writing and cultural production of Irish working-class life. Over recent years this work has expanded into new multidisciplinary themes and international contexts, including the study of festivals, digital methodologies in public humanities and theatre-as-research practices. Michael has contributed to a range of national and international publications, is the author of Writing Ireland's Working Class: Dublin after O'Casey (2011), and has been awarded several Arts and Humanities Research Council awards and the Vice Chancellor's Award at Queen's"--
This book on modern and contemporary Irish theatre traces how social, cultural and economic capital are circulated in order to demonstrate complex and often contradictory outlooks on equality/inequality. Individual chapters analyse property ownership and inheritance; wealth acquisition; employment conditions; educational access; intercultural encounters; sexual intimacy and violation; and acts of resistance, protest and solidarity. This book addresses complex intergenerational, intercultural, racial, sectarian, ethnic, gender and inter- and intraclass dynamics from the perspective of ranked, objectifying, exploitative and coercive relationships but also in terms of commonalities, complicities, reciprocations and retaliations. Notable are the significances of wealth precarity and shaming; the consequences of anti-materialistic dramaturgical leanings; the pathologising of success; the fraught nature of solidarity; and the problematics of merit, divisive partitioning and muddled mésalliances. Ultimately the book wonders about how Irish theatre distinguishes between tolerable and intolerable inequalities that are culturally and socially but principally economically derived.
Theatre and Ireland by Fiona Shaw,Lionel Pilkington Pdf
What is the significance of theatre and performance within Irish culture and history? How do we understand the impact and political potential of Irish theatre? This innovative survey of theatre in Ireland covers a range of drama and performance, from the 17th century to the present. Expanding the field of Irish theatre to include mumming, wake games, prison protests and theatre riots, the book argues that Ireland's longstanding association with performance illuminates key aspects of its cultural history and politics. Foreword by Fiona Shaw.
The Palgrave Handbook of Contemporary Irish Theatre and Performance by Eamonn Jordan,Eric Weitz Pdf
This Handbook offers a multiform sweep of theoretical, historical, practical and personal glimpses into a landscape roughly characterised as contemporary Irish theatre and performance. Bringing together a spectrum of voices and sensibilities in each of its four sections — Histories, Close-ups, Interfaces, and Reflections — it casts its gaze back across the past sixty years or so to recall, analyse, and assess the recent legacy of theatre and performance on this island. While offering information, overviews and reflections of current thought across its chapters, this book will serve most handily as food for thought and a springboard for curiosity. Offering something different in its mix of themes and perspectives, so that previously unexamined surfaces might come to light individually and in conjunction with other essays, it is a wide-ranging and indispensable resource in Irish theatre studies.
This book examines experimental Irish theatre that ran counter to the naturalistic 'peasant' drama synonymous with Irish playwriting. Focusing on four marginalised playwrights after Yeats, it charts a tradition linking the experimentation of the early Irish theatre movement with the innovation of contemporary Irish and international drama.
Staging Beckett in Ireland and Northern Ireland by Anonim Pdf
This is the first full-length study to focus on the staging of Samuel Beckett's drama in Ireland and Northern Ireland. Beckett's relationship with his native land was a complex one, but the importance of his drama as a creative force both historically and in contemporary practice in Ireland and Northern Ireland cannot be underestimated. Drawing on previously unpublished archival materials and re-examining familiar narratives, this volume traces the history of Beckett's drama at Dublin's Abbey and Gate Theatres as well as bringing to light unexamined and little-known productions such as those performed in the Irish language, Druid Theatre Company's productions, and those of Dublin's Focus Theatre. Leading scholars in Beckett studies and in Irish drama, including Anna McMullan and Anthony Roche, and renowned interpreters of Beckett's dramatic work such as Barry McGovern, explore Beckett's drama within the context of Irish creative theatrical practice and heritage, and analyse its legacies. As with its companion volume, Staging Beckett in Great Britain, production analyses are underpinned by a consideration of the political, economic and cultural contexts. Readers are invited to experience Beckett's drama as resonating in new ways, through theatre practice, against the complex and connected histories of Ireland, north and south.