Browsing Drama Theatre and Performance (Scholarly Articles) by Title
Now showing items 15-34 of 49
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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 ... -
‘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 ... -
‘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 ... -
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] -
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 New Electric Ballroom by Enda Walsh, Druid Theatre, Galway
(Irish Theatre Magazine, 2008)[No abstract available] -
‘Now for Our Irish Wars’ – Jez Butterworth’s The Ferryman and the Irish Dramatic Canon
(Routledge, 2020-11-22)This article explores the Irish features of Jez Butterworth’s _The Ferryman_, focussing on his use of overfamiliar Irish tropes as well as his intertextual allusions to writers such as Brian Friel, WB Yeats, and Seamus ... -
“Old Fools are Babes Again”: Shakespeare at the Abbey Theatre: programme note for King Lear directed by Selina Cartmell at the Abbey Theatre
(Abbey Theatre, 2013)[No abstract available] -
Once: the musical by Enda Walsh, Gaiety Theatre
(Irish Theatre Magazine, 2013)As we enter the Gaiety, we discover that Once has already begun: the cast are gathered in what looks like an ordinary pub where a session is underway. They play music for about twenty minutes while members of the audience ... -
Only an Apple by Tom MacIntyre, Peacock Theatre
(Irish Theatre Magazine, 2009)You have to wonder why Irish dramatists keep writing plays about politicians. In 1969, Brian Friel’s The Mundy Scheme brilliantly satirised the political life of that period, while anticipating much that would follow. Yet ... -
'Perform, or Else!'
(ISTR Irish Society for Theatre Research, 2014)This latest issue of Irish Theatre International bridges the discourses of theatre practice and research with that of performance studies, and also with the ways in which social, economic, political and cultural activities ...