Drama Theatre and Performance: Recent submissions
Now showing items 41-60 of 61
-
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 ... -
Queer notions: new plays and performances from Ireland by Fintan Walsh
(Irish Theatre Magazine, 2011-01-30)Fintan Walsh’s new anthology begins with a line that seems in danger of subverting the rest of the book. “There is strength in numbers, so they say,” writes Frank McGuinness in his foreword – before adding “I’ve never ... -
The Blind Fiddler by Marie Jones, Lyric Theatre, Belfast
(Irish Theatre Magazine, 2003-06-12)Perhaps unfairly, Marie Jones remains more noted for commercial rather than critical success. The Blind Fiddler – an exciting fusion of melodrama, traditional music, and great storytelling – looks likely to be as successful ... -
Tilsonburg by Malachy McKenna, Focus Theatre/Irish Touring Company, Town Hall Theatre and Shiver by Declan Hughes, Rough Magic, Project Arts Centre, Dublin
(Irish Theatre Magazine, 2003)Critics have been declaring Irish playwrighting to be in a state of crisis for most of the last 100 years but, even so, it’s hard not to feel glum about the present state of our writing for the stage. The latest plays from ... -
Measure for Measure by William Shakespeare, Rattlebag Theatre Company, Civic Theatre Tallaght and Henry IV – Part One by William Shakespeare, Peacock Theatre
(Irish Theatre Magazine, 2003)Almost every European country that gained independence after the First World War had one thing in common: with only one exception, they all tried to stimulate the growth of a national literature by commissioning translations ... -
The Call by Tara Maria Lovett, Peri-Talking at The Crypt
(Irish Theatre Magazine, 2002)Arriving to watch Tara Maria Lovett’s The Call, we realise that we have entered a human body. The room pulses with red lighting as we take our seats around a ribcage, a pile of stones at its centre representing a heart. ... -
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 ... -
J.M. Synge, authenticity, and the regional
(Edinburgh University Press, 2013)[No abstract available] -
'Albert Nobbs', Ladies and Gentlemen, and Quare Irish Female Erotohistories
(Edinburgh University Press, 2013-05)This essay models an approach to quare Irish female erotohistoriography through analyzing George Moore's 1918 novella 'Albert Nobbs' (later adapted as The Singular Life of Albert Nobbs by French feminist playwright Simone ... -
Ireland, China, Belgium, Finland: brokentalkers and the transnational connectivities of post-Celtic Tiger Irish performance
(Brill, 2015)[No abstract available] -
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 ... -
Staging the new Irish : interculturalism and the future of the post-Celtic Tiger Irish theatre
(University of Toronto Press, 2011)In this article, I argue that the work of minority-ethnic artists reframes the parameters of Irish national belonging and tests the limits of “interculturalism” as official discourse in the post–Celtic Tiger nation. I ... -
"Theatre of good intentions: challenges and hopes for theatre and social change" (Book review)
(Taylor & Francis, 2014-10-21)[no abstract available] -
Review of Stewart Parker: A Life by Marilynne Richtarik
(Modern Humanities Research Association, 2015-10)Stewart Parker is ofen spoken of as Ireland’s most unjustly neglected dramatist. His first play, Spokesong, was an unexpected hit at the Dublin Teatre Festival in 1975; his last play, Pentecost (1987), is one of the great ... -
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] -
Druid Theatre’s Leenane Trilogy on tour: 1996–2001
(Carysfort Press, 2005-09-20)[No abstract available] -
Regionalisation and Globalization in Irish Drama since 1990
(Érudit, 2006-09)The impact of globalisation on Irish theatre since the early 1990s has been considerable. A study of four recent Irish plays, all produced by "regional" theatre companies, suggests that contemporary Irish theatre is dominated ... -
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. ... -
"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 ... -
Reviewing
(Routledge, 2015-02-12)This article explores the practice of reviewing, using the methodologies associated with theatre criticism to consider how best to manage the academic practice of reviewing.