Dissertations / Theses on the topic 'Irish drama'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Irish drama.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
Merrett, Helen Ruth. "Perspectives on loyalism in representative Irish Drama." Thesis, University of Exeter, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.275907.
Full textMurphy, Paul. "Hegemony and fantasy in Irish drama, 1899-1949." Thesis, Staffordshire University, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.402434.
Full textDuncan, Dawn E. (Dawn Elaine). "Language and Identity in Post-1800 Irish Drama." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc277916/.
Full textWalsh, Maeve. "Re:vision : the interpretation of history in contemporary Irish drama." Thesis, Goldsmiths College (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.286613.
Full textSalis, Loredana. "'So Greek with consequence' : classical tragedy in contemporary Irish Drama." Thesis, Ulster University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.421897.
Full textHarris, Susan C. "Bodies and blood : gender and sacrifice in modern Irish drama /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/fullcit?p9837975.
Full textStout, Rebecca Lynn. ""In dreams begins responsibility:" the role of Irish drama and the Abbey Theatre in the formation of post-colonial Irish identity." Texas A&M University, 2006. http://hdl.handle.net/1969.1/3843.
Full textMacbeth, Georgia School of Theatre Film & Dance UNSW. "A Plurality of Identities: Ulster Protestantism in Contemporary Northern Irish Drama." Awarded by:University of New South Wales. School of Theatre, Film and Dance, 1999. http://handle.unsw.edu.au/1959.4/33257.
Full textJaros, Michael Perin. ""To Have Lived is Not Enough for Them" performing Irish history in the twentieth century /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3307371.
Full textTitle from first page of PDF file (viewed February 6, 2009). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 207-215).
Grossman, Joanna Rebecah. "Shakespeare Grounded: Ecocritical Approaches to Shakespearean Drama." Thesis, Harvard University, 2014. http://nrs.harvard.edu/urn-3:HUL.InstRepos:13064927.
Full textDaly, Nora F. "Deirdre and the destruction of Emain Macha : Jungian archetypes and Irish drama /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0017/MQ42365.pdf.
Full textDecker, Martin [Verfasser]. "Irish Identities and the Great War in Drama and Fiction / Martin Decker." Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2016. http://d-nb.info/1116874733/34.
Full textWyss, Rebecca. "Troubling Northern Irish Herstories: The Drama of Anne Devlin and Christina Reid." Ohio University Honors Tutorial College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1429992523.
Full textValley, Leslie Ann. "Replacing the Priest: Tradition, Politics, and Religion in Early Modern Irish Drama." Digital Commons @ East Tennessee State University, 2009. https://dc.etsu.edu/etd/1856.
Full textBoyle, Terence A. "Denis Johnston (a critical biography)." Thesis, University of Ulster, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.390056.
Full textMacCionnaith, Eric-Michael A. "Resurrections : the use of folklore themes and motifs in Marina Carr's works /." Connect to title online (Scholars' Bank) Connect to title online (ProQuest), 2008. http://hdl.handle.net/1794/7490.
Full textTypescript. Includes vita and abstract. Includes bibliographical references (leaves 141-147). Also available online in Scholars' Bank; and in ProQuest, free to University of Oregon users.
Cimei, Christopher Yo. "Troubling spaces : the representation of space and place in Troubles-era Northern Irish drama." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/25945.
Full textRiordan, Michael, and n/a. "Terrible Beauty: Ideology and Political Discourse in the Early Plays of Sean O'Casey." Griffith University. School of Humanities, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040615.132200.
Full textRiordan, Michael. "Terrible Beauty: Ideology and Political Discourse in the Early Plays of Sean O'Casey." Thesis, Griffith University, 2004. http://hdl.handle.net/10072/367087.
Full textThesis (Masters)
Master of Philosophy (MPhil)
School of Humanities
Full Text
Bloom, James. "The broken yoke : a dozen BBC radio plays about the Anglo-Irish past and its present." Thesis, University of Exeter, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.390127.
Full textFitz-Simon, Christopher O'Connell. "Popular Irish drama in the decade leading up to the opening of the Abbey Theatre." Thesis, University of Ulster, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.413871.
Full textMinogue, M. W. "Performing Protestantism : the representations of Protestant, Unionist, and Loyalist identities in selected Northern Irish drama." Thesis, Queen's University Belfast, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.680055.
Full textGreenwood, Joseph. "The mnemonic and performative function of song in selected Irish plays from the 1950s and 1960s." Thesis, Queen's University Belfast, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.675919.
Full textBatchelder, Kelly. "SCENE AND UNSEEN: ABJECTION AND THE FEMALE BODY IN FILMS AND DRAMA OF THE NORTHERN IRISH TROUBLES, 1969-1998." OpenSIUC, 2020. https://opensiuc.lib.siu.edu/dissertations/1810.
Full textJoyner, Thomas Parnell. "And what rough beast: The political geography of physical impairment in twentieth-century Irish drama and theatre." Connect to online resource, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3256441.
Full textCapuchinho, Adriana Carvalho. "Liminaridade, Sacrifício e Reciprocidade: uma abordagem do ritual em três peças de Brian Friel." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-21022013-111001/.
Full textThis work addresses three plays by Brian Friel - The Enemy Within (1962), Faith Healer (1979) and Dancing at Lughnassa (1990) - written within a period of almost thirty years. Our thesis is that Friel writes all three plays as rituals, a conception taken from the Cambridge Ritualists, who in the 1920s assume that Greek tragedy and drama grew out of the ancient fertility rituals. We notice that the influence of tragedy and rituals on Friel\'s work is more connected to the form and approach to the plays as rituals than to the rewriting of Greek tragedies or myths. Friel reworks myths and rituals in order to update and remake drama as a ritual in itself, whose raison d\'etre for him is to allow the meaning and reorganization of individual and social life in modern industrial world, mainly life in contemporary Ireland. We deal here with social dramas and rites of passage, with special regard to the liminal period, characterized by the transition between social roles and involving a period of not belonging. The three groups involved in each play: the monks and novices in The Enemy Within, the small troupe in Faith Healer and the family in Dancing at Lughnasa, live on the boundaries of their societies and are led by men who are in a liminal situation in social dramas which involve both institutionalized and informal ritual processes.
Roscoe, Jane Anna Marie. "The Irish conflict as portrayed in British drama documentaries : an analysis of the television text and audience interpretations." Thesis, University of East London, 1994. http://roar.uel.ac.uk/1250/.
Full textBaker, Vanessa Grace. "RITUAL AS THE WAY TO SPEAK IN DANCING AT LUGHNASA." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1149015059.
Full textYun, Hunam. "Appropriations of Irish drama by modern Korean nationalist theatre : a focus on the influence of Sean O’Casey in a colonial context." Thesis, University of Warwick, 2010. http://wrap.warwick.ac.uk/34647/.
Full textJustino, Adriana Torquete do Nascimento. "Da biografia para o palco: três peças de Thomas Kilroy." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-09112012-124318/.
Full textThe present dissertation examines the transposition from biography to stage in three plays by Thomas Kilroy: Double Cross (1986), The Secret Fall of Constance Wilde (1997) e My Scandalous Life (2004), analyzing how the Irish playwright adapted the historical records for theatrical language and filled in the biographical gaps through fictional elements; and how epic features were used in dramatic form. Double Cross is based on two historical figures, Brendan Bracken and William Joyce, who were on opposite sides during the Second World War. The Secret Fall of Constance Wilde transposes events of Constances life, Oscar Wildes wife, to the stage. The monologue My Scandalous Life concentrates on Lord Alfred Douglas, also present in The Secret Fall of Constance Wilde.
Farrelly, Ann Dillon. ""It depends on the fella. And the cat." negotiating humanness through the myth of Irish identity in the plays of Martin McDonagh /." Columbus, Ohio : Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1086104442.
Full textTitle from first page of PDF file. Document formatted into pages; contains vii, 189 p. Advisor: Joy Reilly, Theatre Graduate Program. Includes bibliographical references (p. 181-187).
Bowker, Gemma-Jane. "Explorations of the maternal and the mother-daughter dyad in plays by British and Irish women playwrights and comparative drama from 1945 to the present day." Thesis, University of Manchester, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.508605.
Full textSchuler, Anne-Marie E. "Counsel, Political Rhetoric, and the Chronicle History Play: Representing Conciliar Rule, 1588-1603." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1321840691.
Full textSen, Shiladitya. "Metatheatricality on the Renaissance Stage, the Audience and the Material Space." Diss., Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/165652.
Full textPh.D.
My dissertation examines how early modern metatheater enabled the Renaissance stage and its original audience to develop a complex and symbiotic relationship. Metatheater--by which I mean a particular mode of theatre, in which actors, playwrights, dramatic characters and/or (in particular) audiences express or share a perception of drama as a fictional and theatrical construct--pervaded Renaissance drama, not by simple happenstance but arising almost inevitably from the complex context within which it functioned. The early modern stage was a particularly conflicted forum, which monarchs and playwrights, town fathers and actors, censors and audiences, impresarios and anti-theatricalists, all strove to influence and control. The use of the metatheatrical mode allowed playwrights and players to better navigate this difficult, sometimes dangerous, space. In particular, the development of Renaissance metatheater derived from (and, simultaneously, affected) the unique nature of its original spectators, who practiced a much more actively engaged participation in the theater than is often recognized. Performers and playwrights regularly used metatheatricality to adapt to the needs and desires of their audience, and to elicit the intellectual and emotional responses they desired. My study utilizes a historically contextualized approach that emphasizes the material conditions under which Renaissance drama arose and functioned. It begins by examining the influence of the surrounding milieu on the Renaissance stage and its spectators, especially its facilitation of the development and use of metatheater. Then, via close readings of four plays--Kyd's The Spanish Tragedy, Shakespeare's Henry V and Antony and Cleopatra, and Beaumont's The Knight of the Burning Pestle--the dissertation indicates how varied and versatile early modern metatheater was, and how it responded to and influenced the nature of its audiences. My study demonstrates the centrality of metatheater to early modern theatrical practice, delineates its pervasive influence on the stage-audience relationship in Renaissance theaters, and underlines the influence of material conditions on the creation and dissemination of Elizabethan and Jacobean drama.
Temple University--Theses
Bell, Caehlin O'Malley. "Being Ireland Lady Gregory in Cathleen Ni Houlihan /." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1211912530.
Full textParra, Cláudia [UNESP]. "Imaginary irishness: the feminine in dramatisations of the Paster Rising in Sean O’Casey’s the plough and the stars and Tom Murphy’s The Patriot Game." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/136336.
Full textApproved for entry into archive by Juliano Benedito Ferreira (julianoferreira@reitoria.unesp.br) on 2016-03-22T12:38:37Z (GMT) No. of bitstreams: 1 parra_c_me_sjrp.pdf: 3519088 bytes, checksum: d357387adaed832b2e20a3e4ae3bbbdb (MD5)
Made available in DSpace on 2016-03-22T12:38:37Z (GMT). No. of bitstreams: 1 parra_c_me_sjrp.pdf: 3519088 bytes, checksum: d357387adaed832b2e20a3e4ae3bbbdb (MD5) Previous issue date: 2016-02-29
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Uma vez que a cultura nacional irlandesa tem formado uma concepção imaginária de identidade, isso afeta também a imagem da mulher. O drama irlandês tem contribuído muito para o debate e revisionismo sobre a identidade irlandesa e, no século XX, a Revolta da Páscoa em 1916 foi escolhida como contexto por alguns dramaturgos irlandeses pra promover uma reflexão sobre essa questão. Sean O’Casey e Tom Murphy apresentaram versões da Revolta da Páscoa nos palcos do Abbey que abordaram a identidade da mulher irlandesa em um contexto nacionalista. Uma comparação desses dois textos dramáticos revela que, embora os dramaturgos tenham usado estratégias diferentes, ambos reavaliaram a imagem feminina promovida pelo nacionalismo irlandês.
Ireland’s particular national culture has shaped an imaginary conception of identity which has also affected the image of women. Irish drama has contributed significantly to the debate on and revisionism of Irish identity and, in the twentieth century, the Easter Rising in 1916 was chosen by some Irish playwrights as a background to promote reflection on this question. Sean O’Casey and Tom Murphy presented versions of the Easter Rising on the Abbey stage which approached the identity of Irish women in a nationalistic context. A comparison of these two dramatic texts reveals that, although the playwrights used different strategies, they both reassessed the female image promoted by Irish nationalism.
Moran, Caitlin. "Social Class, Literacy, and Elizabeth Cary: The Participation of Servants in Early Modern Private Drama." University of Dayton / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1398612946.
Full textHall, Lynn. "Unruly Subjects: Willful Women in Modernist Narratives." Miami University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=miami1605813388828221.
Full textNajar, Daronkolae Esmaeil. "Pam Gems: Rethinking Her Life and the Impact of Her Plays on British Stage." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1523487108676837.
Full textWardell, Kathryn Brenna. "The rake's progress: Masculinities on stage and screen." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11457.
Full textMy dissertation analyzes the rake, the libertine male, a figure whose liminal masculinity and transgressive appetites work both to stabilize and unsettle hegemony in the texts in which he appears. The rake may seem no more than a sexy bad boy, unconnected to wider social, political, and economic concerns. However, my project reveals his central role in reflecting, even shaping, anxieties and desires regarding gender and sexuality, race and ethnicity. I chart the rake's progress from his origins in the Restoration era to the early twenty-first century. Chapter II examines William Wycherley's comedy The Country Wife in concert with John Dryden's Marriage à la Mode and Aphra Behn's The Rover to analyze the rake's emergence in seventeenth-century theatre and show that his transgression of borders real and figurative plays out the anxieties and aspirations of an emerging British empire. Chapter III uses John Gay's ballad opera The Beggar's Opera, a satiric interrogation of consumerism and criminality, to chart the rake in eighteenth-century British theatre as Britain's investment in global capitalism and imperialism increased. My discussion of Opera is framed by Richard Steele's early-century sentimental comedy The Conscious Lovers and Hannah Cowley's late-century The Belle's Stratagem, a fusion of sentiment and wit. Chapter IV hinges the project's theatre and film sections, analyzing Oscar Wilde's fin-de-siècle comedy The Importance of Being Earnest as a culmination of generations of theatre rakes and an anticipation of the film rakes of the modern and post-modern eras. Dion Boucicault's mid-century London Assurance is used to set up Wilde's queering of the rake figure Chapter V brings the rake to a new medium, film, and a new nation, the United States, as the figure catalyzes American tension over race and gender in early twentieth-century films such as Cecil B. DeMille's The Cheat, George Melford's The Sheik, and Ernest Lubitsch's Trouble in Paradise. My final chapter reads contemporary films, including Jenniphr Goodman's The Tao of Steve, Chris Weitz and Paul Weitz's About a Boy, and Gore Verbinski's trilogy Pirates of the Caribbean for Disney Studios, to assess the ways in which millennial western masculinity is in stasis.
Committee in charge: Dianne Dugaw, Co-Chair; Priscilla Ovalle, Co-Chair; Kathleen Karlyn; John Schmor
Girel-Pietka, Virginie. "La crise de l'identité dans le théâtre de Denis Johnston." Thesis, Lille 3, 2013. http://www.theses.fr/2013LIL30029/document.
Full textDenis Johnston 's dramatic works question the notion of identity. They all focus on the history of Ireland and more especially on the way Irish rebels have been turned into national icons, although the materialistic culture developing in the young Irish Free State is at odds with the ideals of those Romantic figures. In his view, national identity has fossilized into clichés that jeer at the Irish Literary Revival. At the same time, his plays destabilize the notion of identity on an individual level, unsetting conventional stage characters. He stages the "crisis of the character" which, according to Robert Abirached, modern drama is concerned with. I argue that those two aspects of Johnston's work are the two sides of one and the same critique of the failure of conventional drama to convey identity on the stage. Studying the ideology that underpins Johnston's aesthetic experiments, I intend to show that the dramatist turns out to have paradoxically served the purpose of the founders of Irish national drama : he disfigures the clichés which supposedly embody Irishness, and thus allows the nation to imagine again its multifaceted identity
Merriman, Victor Nicholas. "Dramas of postcolonial desire : nation, representation and subjectivity in contemporary Irish theatre." Thesis, Staffordshire University, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.402736.
Full textMeinen, Iris [Verfasser]. "Das Motiv der Selbsttötung im Drama des 18. Jahrhunderts / Iris Meinen." Koblenz : Universitätsbibliothek Koblenz, 2012. http://d-nb.info/1020622334/34.
Full textBrinkman, Eric M. "Inclusive Shakespeare: An Intersectional Analysis of Contemporary Production." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1595003420023716.
Full textCurham, Mary J. "The national spirit in the new Irish drama." Thesis, 2015. http://hdl.handle.net/10539/16561.
Full textSULLIVAN, WINIFRED HELEN. "MUSIC AND SOCIETY IN ELIZABETHAN DRAMA." 1986. https://scholarworks.umass.edu/dissertations/AAI8701223.
Full textMacbeth, Georgia. "A plurality of identities : Ulster Protestantism in contemporary Northern Irish drama /." 1999. http://www.library.unsw.edu.au/~thesis/adt-NUN/public/adt-NUN20010622.113533/index.html.
Full textJohnson, Amy R. "Stranger in the Room: Illuminating Female Identity Through Irish Drama." Thesis, 2007. http://hdl.handle.net/1805/918.
Full textTitle from screen (viewed on May 23, 2007) Department of English, Indiana University-Purdue University Indianapolis (IUPUI) Includes vita. Includes bibliographical references (leaves 82-83)
McHugh, Meadhbh. "Black Lyric: Trauma and Poetic Voice in Contemporary Irish Drama." Thesis, 2021. https://doi.org/10.7916/d8-x20m-ys55.
Full textDiaz, Michael. "Gerald MacNamara a kulturní obrození v Severním Irsku." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-297606.
Full text