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dc.contributor.advisorLonergan, Patrick
dc.contributor.authorBarre, Nelson
dc.date.accessioned2016-10-18T08:12:20Z
dc.date.issued2016-10-17
dc.identifier.urihttp://hdl.handle.net/10379/6069
dc.description.abstractIn this research, I examine the relationship between ritual, memory, and performance and contemporary theatrical creation methods, specifically with reference to the works of Enda Walsh. I use Walsh's plays as a case study to discuss the various realities and forms of world-making in theatre and performance. These analyses all interconnect and demonstrate the ways in which performers enact personal and communal rituals of belief, re-member versions of the past, and embody performed reality. My dissertation also includes production information and analysis to explore the ways in which these related themes appear not only in theoretical but practical applications.en_IE
dc.subjectEnda Walshen_IE
dc.subjectRitualen_IE
dc.subjectMemoryen_IE
dc.subjectPerformanceen_IE
dc.subjectPractice-as-researchen_IE
dc.subjectEnglishen_IE
dc.subjectDramaen_IE
dc.subjectTheatreen_IE
dc.subjectPerformanceen_IE
dc.titleActing is believing: ritual, memory, and performance in the plays of Enda Walshen_IE
dc.typeThesisen_IE
dc.local.noteEnda Walsh's plays use performances to show rituals and memories with slight deviations from objective truth. Walsh depicts characters who re-enact versions of their past to revise narratives of their person and communal histories. In these works, we see the effects of culturally-constructed beliefs at work.en_IE
dc.description.embargo2020-10-16
dc.local.finalYesen_IE
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