Browsing Drama Theatre and Performance by Title
Now showing items 15-34 of 61
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An enemy of the people, Ibsen adapted by Arthur Miller, Gate Theatre
(Irish Theatre Magazine, 2013)Ibsen’s 1882 An Enemy of the People is sometimes described as a problem play, in that it dramatises a compelling debate between two brothers about the nature of morality and individual responsibility. But that term might ... -
Faith Healer by Brian Friel, Gate Theatre
(Irish Theatre Magazine, 2010)During the last decade, Owen Roe has emerged as one of Ireland’s very best actors – yet, until now, he’s rarely filled a major leading role. His performance as the Irishman in Ben Barnes’s 2001 Gigli Concert was astonishing ... -
The Field by John B. Keane, Olympia Theatre
(Irish Theatre Magazine, 2011)Irish attitudes towards John B. Keane have changed a lot during the last ten years – due largely to Garry Hynes’ production of four of his plays during that period. Keane has always been popular, but he was also seen by ... -
For the pleasure of seeing her again by Michel Tremblay, translated by Linda Gaboriau, Peacock Theatre
(Irish Theatre Magazine, 2002)As Michel Tremblay’s play begins, we are told that we are not about to see a Three Sisters or a Hamlet. Instead, we are asked to witness the writer’s remembrance of Nana, his mother, whom he is summoning to the stage "for ... -
The Gigli Concert by Tom Murphy, Druid Theatre
(Irish Theatre Magazine, 2009-09)One of the clichés of Irish theatre historiography is that drama in this country is excessively verbal – that our dramatists write for the voice, but not for the body. But if you actually go to the theatre here, it soon ... -
Globalisation and national theatre: two Abbey Theatre productions of Sean o'Casey's The Plough and the Stars
(Cambridge Scholars Press, Newcastle, 2007)[No abstract available] -
‘Great Joys Were My Share Always’: Ibsenite echoes in Synge’s Deirdre of the Sorrows
(International Association for the Study of Irish Literatures (IASIL) Japan, 2017)[No abstract available] -
Half-hearted: Irish Theatre, 2003
(Center for Irish Studies, University of St. Thomas, 2004)Irish theater experienced an unusuaily quiet period in 2003. Although the year was free of the controversies that have overshadowed recent years, it was also too frequently free of excitement, creativity, and originality. ... -
Historical duty, palimpsestic time, and migration in the Decade of Centenaries
(Taylor & Francis, 2015-11-23)This article analyses Sonya Kelly’s How to Keep an Alien (Dublin Tiger Fringe, 2014) and ANU Production’s Vardo (Dublin Theatre Festival, 2014) in relationship to the performative backdrop of the Irish Decade of Centenaries ... -
Home is where the heart is - and the drama too
(The Irish Times, 2015-01-03)[No abstract available] -
HURL by Charlie O’Neill, Barrabas Theatre Company, Black Box Theatre, Galway
(2003)Minutes into Hurl, Charlie O’Neil’s play about a multi-ethnic hurling team, a ripple of discomfort sweeps through the audience. On stage, a man and woman have entered the house of an alcoholic ex-priest; understandably, ... -
"I Do Repent and Yet I Do Despair": Beckettian and Faustian allusions in Conor McPherson's the Seafarer and Mark O'Rowe's Terminus
(Routledge, 2012)In a press interview in April 2007, Conor McPherson correctly anticipated the imminent conclusion of the ‘Celtic Tiger’ period – the decade-long economic boom that had transformed Ireland into one of the world’s richest ... -
Intercultural masculinities in the contemporary Irish theatre
(Cambridge Scholars Publishing, 2015)[No abstract available] -
Ireland, China, Belgium, Finland: brokentalkers and the transnational connectivities of post-Celtic Tiger Irish performance
(Brill, 2015)[No abstract available] -
‘It is suicide to be abroad. But what it is to be at home …’: Beckett as national performance
(Intellect, 2020-12-01)This article explores how nations such as Ireland interact with each other ‐ and seek to understand themselves ‐ by appropriating theatre-makers and other artists, using them to perform versions of that nation to the outside ... -
J.M. Synge, authenticity, and the regional
(Edinburgh University Press, 2013)[No abstract available] -
Krapp's Last Tape by Samuel Beckett, Gate Theatre
(Irish Theatre Magazine, 2010)It took Samuel Beckett about three weeks to write Krapp’s Last Tape. During that time, the play went through seven distinct stages which, according to the scholarship, involved a gradual stripping away of sentimentality: ... -
The Last Summer by Declan Hughes: programme note for Gate Theatre, Dublin
(Gate Theatre, 2012)[No abstract available] -
The Match Box by Frank McGuinness: programme note for Galway International Arts Festival
(Galway International Arts Festival, 2015)[No abstract available]