Journal articles on the topic 'Irish dramatists'
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Gallagher, S. F., and Michael Etherton. "Contemporary Irish Dramatists." Canadian Journal of Irish Studies 16, no. 1 (1990): 81. http://dx.doi.org/10.2307/25512814.
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Holder, Heidi J., and Michael Etherton. "Contemporary Irish Dramatists." Theatre Journal 42, no. 4 (December 1990): 524. http://dx.doi.org/10.2307/3207743.
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Kealy, Una. "Eileen Kearney and Charlotte Headrick (editors), Irish Women Dramatists 1908–2001." Irish University Review 46, no. 2 (November 2016): 401–4. http://dx.doi.org/10.3366/iur.2016.0239.
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Molony, Martin G. "Nelson Paine, Experimental Theatre, and Puppetry in Ireland, 1942–1952." Estudios Irlandeses, no. 18 (March 17, 2023): 67–78. http://dx.doi.org/10.24162/ei2023-11392.
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In 1942, a young Dublin architect, Nelson Paine, formed the Dublin Marionette Group on foot of an international re-appraisal of the potential of the puppet theatre as a form of expression. This Group became the nucleus of experimental theatre in the Irish capital and influenced several well-known Irish creative artists over the decade of its existence and beyond. It attracted the involvement of actors, artists and dramatists of the period and performed in professional settings, including eight seasons at the Peacock Theatre and for each of the first four years of the Wexford Opera Festival. This article examines the context of the Group’s formation, its long-forgotten experimental approach, and its considerable contribution to the development of the arts in Ireland.
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Trotter, Mary. "Modern Dramatists: A Casebook of Major British, Irish and American Playwrights (review)." Theatre Journal 54, no. 1 (2002): 175–76. http://dx.doi.org/10.1353/tj.2002.0031.
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Mozetič, Uroš. "The Rack-Brain Pencil-Push of hurt-in-hiding: Translating the Poetry of Seamus Heaney into Slovene." ELOPE: English Language Overseas Perspectives and Enquiries 2, no. 1-2 (June 22, 2005): 277–91. http://dx.doi.org/10.4312/elope.2.1-2.277-291.
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The paper raises the issue of the Slovene possibilities of translating culture-, politics-, and language-specific poetic texts of the Irish author Seamus Heaney. The inquiry has been triggered by the unfavourable response to the poet’s work in Slovenia, which is all the more telling in light of other modern Irish writers, especially dramatists, who have lately gained firm ground and acquired sympathy from the Slovene public. Our comparison of Heaney’s poems with their Slovene translations is, therefore, aimed at elucidating the main reasons for such a tepid response, drawing mainly on a variety of the Slovene stylistic, linguistic, and pragmatic interpretations of his poetic output, which happen to be more often than not at variance with the author’s intrinsic poetic output and thus the chief culprit in the misapprehension of his poetic communique.
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CLARE, DAVID. "The “Hibernicising” of George Farquhar’s Plays after Irish Independence." Estudios Irlandeses, no. 18.2 (December 18, 2023): 1–10. http://dx.doi.org/10.24162/ei2023-11982.
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Since the establishment of the Irish Free State in 1922, theatres and theatre companies in the twenty-six counties have had an uneasy relationship with the work of Derry-born playwright George Farquhar. This is presumably because Farquhar’s fervent loyalty to the English crown and his “unenlightened” views on religious tolerance – including the frankly sectarian treatment of Catholicism in his later plays – do not sit well with theatremakers who want to rebrand him as a narrowly and uncomplicatedly Irish playwright. While some post-independence productions of Farquhar have subtly and cleverly exploited Irish elements already present in his scripts, most have crudely imposed Irish elements onto his work. Farquhar is, of course, not the only playwright from the distinguished line of England-based, Irish Anglican dramatists to have had his England-set works “Hibernicised” in this way; works by Oliver Goldsmith, Richard Brinsley Sheridan, Oscar Wilde, and Bernard Shaw have all suffered a similar fate in the Irish Free State and Irish Republic since 1922. However, Farquhar has been subjected to this “Hibernicising” process significantly more than any other playwright from the august Irish Anglican dramatic tradition. And, as this article demonstrates, a reluctance to fully engage with Farquhar’s Irish/British hybridity and his views on religion is a key feature of most productions of the playwright’s work in the twenty-six counties since independence. This is, of course, an insult to a man who – according to legend – was inside the walls during the Siege of Derry, who fought for King Billy at the Battle of the Boyne, and whose childhood home (his father’s parsonage) was burned to the ground by Catholic rebels.
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Etherton, Michael. "The Field Day Theatre Company and the New Irish Drama." New Theatre Quarterly 3, no. 9 (February 1987): 64–70. http://dx.doi.org/10.1017/s0266464x00008514.
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In the previous article, the author exempted one company's work from her strictures on the present state of Ulster playwriting. That company was Field Day, based in the town whose very choice of name distinguishes Catholic from Protestant, Derry or Londonderry. Here, Michael Etherton outlines the aims of the company, which extend far beyond the theatrical, and also describes and assesses three plays which, although not all originating from Field Day, seem to him to reflect the distinctive ‘poetic and political view’ which he believes the company has nurtured. Most notable, be believes, is its attempt to reveal and replace the arid rhetoric to which beliefs and argument on both ‘sides’ have been reduced. Michael Etherton, presently teaching at King Alfred's College, Winchester, has previously published widely in the field of African theatre, on which he wrote in TQ10 of our original series, and he is preparing a volume on contemporary Irish drama for the Macmillan Modern Dramatists series.
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Sierz, Aleks. "‘Me and My Mates’: the State of English Playwriting, 2003." New Theatre Quarterly 20, no. 1 (January 5, 2004): 79–83. http://dx.doi.org/10.1017/s0266464x03000356.
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Since his account of the Birmingham Theatre Conference in NTQ51, Aleks Sierz has taken the temperature of British playwriting in articles about ‘Cool Britannia’ (NTQ56) – from which developed his influential book, In Yer Face Theatre: British Drama Today (Faber, 2001) – ‘Still In-Yer-Face? Towards a Critique and a Summation’ (NTQ69), and a report on the Bristol conference (NTQ73). At a time when more new writing is being staged than probably at any period of British theatre history, here he laments the insular social realism which once more characterizes English (as distinct from Irish, Scottish, and American) playwriting, however modishly its characters may now be drawn from the underclass rather than the upper; and he identifies a ‘hunger for ideas’ among British audiences which is ill-satisfied by the dystopian despair of many would-be political dramatists.
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Alghanem, Alanoud Abdulaziz. "Textualizing History in Synge’s Riders to the Sea and O’Casey’s Juno and the Paycock: A Comparative Study." World Journal of English Language 14, no. 1 (December 22, 2023): 520. http://dx.doi.org/10.5430/wjel.v14n1p520.
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In a radical reaction against the idealism and sentimentality of melodrama, a few dramatists in the second half of the nineteenth century shifted the dramaturgy style into what came to be known as realism. This school of thought emphasizes the presentation of life as it is without exaggeration, illusions or artifices. It is evidently reflected in the dramatic works of some playwrights like John Millington Synge and Sean O’Casey who are the main concern of this paper. In this respect, the textualization of history is significantly an important aspect of realist plays. Therefore, this comparative study explores the textualization of history in two iconic Irish plays; John Millington Synge’s Riders to the Sea (1904) and Sean O’Casey’s Juno and the Paycock (1924). These plays are realistic portrayals of Irish society and the profound impact of historical events on the lives of ordinary individuals. By utilizing a new historicist and postcolonial reading, this study aims to uncover how historical events are recorded, reinterpreted, and recreated within literary works. It investigates the ways in which Synge and O’Casey incorporate these historical elements into their plays, demonstrating the dual nature of the relationship between history and literature. Besides, the study will conclude by proving the indirect commitment of these playwrights to their nations, countering accusations leveled against them.
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Mellamphy, Ninian. "Brian Friel by George O'Brien, and: Contemporary Irish Dramatists by Michael Etherton (review)." Modern Drama 35, no. 3 (1992): 481–83. http://dx.doi.org/10.1353/mdr.1992.0031.
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Freeman, Sandra, Michael Jamieson, Christopher Murray, Ulf Danatus, Göran Kjellmer, Anne Moskow, Ronald Paul, et al. "Reviews and notices." Moderna Språk 88, no. 1 (June 1, 1994): 96–120. http://dx.doi.org/10.58221/mosp.v88i1.10120.
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Includes the following reviews:pp. 96-97. Sandra Freeman. Griffiths, T.R. & Llewellyn, M. (eds.), British and Irish Women Dramatists Since 1958.
pp. 97-98. Michael Jamieson. Esslin, M., Pinter the Playwright.
pp. 98-100. Christopher Murray. Hodgson, T., Modern Drama: From Ibsen to Fugard. + Innes, C., Modern British Drama 1890-1990.
pp. 100-103. Ulf Danatus. Russell, J.R., The Penguin Dictionary of the Theatre. + Wandor, M., Drama Today; A Critical Guide to British Drama. + Acheson, J. (ed.), British and Irish Drama since 1960. + Hilton, J. (ed.), New Directions in Theatre.
pp. 103-105. Göran Kjellmer. Cowie, A.P. & Mackin, R. (eds.), Oxford Dictionary of Phrasal Verbs.
p. 105. Anne Moskow. Virago Press - Feminist Publisher.
pp. 105-106. Ronald Paul. Burgess, A., A Mouthful of Air.
pp. 106-109. Frank-Michael Kirsch. Byram, M. (ed.), Germany. Its Representation in Text, Books for Teaching German in Great Britain.
pp. 110-111. Bo Andersson. Günter, S. & Kotthoff, H. (Hrsg.), Die Geschlechter im Gespräch. Kommunikation in Institutionen.
pp. 112-113. Gustav Korlén. Leiser, E., Gott hat kein Kleingeld.
pp. 114-117. Elisabeth Tegelberg. L'année scandinave 1989-1991, Nouvelles du Nord 1992.
pp. 117-118. Börje Schylter. Hedberg, J., Nostalgia.
pp. 118-119. Lars-Göran Sundell. Boysen, G., Fransk grammatik.
p. 120. Redaktionsmeddelande/A Message from the Editors
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FitzPatrick Dean, Joan. "Hilton Edwards, Brecht and the Brechtian." Review of Irish Studies in Europe 4, no. 1 (June 14, 2021): 82–98. http://dx.doi.org/10.32803/rise.v4i1.2622.
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The Dublin Gate Theatre Company’s repertory of international, often experimental plays offers perhaps the clearest distinction between the Gate and the Abbey in the mid-twentieth century. A growing body of scholarship focuses on how Hilton Edwards and Micheál mac Liammóir deployed innovative, non-realistic staging techniques and brought to Ireland design elements associated with European artists. The Gate’s international remit can also be seen in its production of plays not merely authored by foreign playwrights, but focused on issues outside the conventional purview of Irish politics, including anti-Semitism and totalitarianism. Throughout his career, Hilton Edwards often sought out non-realistic dramaturgies to critique modern institutions. Some of the plays chosen by Edwards and mac Liammóir were so provocative, socially-conscious, and politically-charged that they challenged the prevailing ethos in Catholic Ireland and incurred the wrath of the Catholic Cinema and Theatre Patrons’ Association. Edwards’ exposure to Bertolt Brecht’s plays, theories, and the 1956 London performances by the Berliner Ensemble prompted not only his production of Mother Courage in 1959 and Saint Joan of the Stockyards two years later, but also his greater willingness to comment on theatre, for example on the radio and in his book The Mantle of Harlequin (1958). Edwards shared with Brecht an awareness of music as integral to performance and a vision of theatre unconstrained by realism and the proscenium arch. Although the Gate repertory of new productions in the post-Emergency era may appear unsurprising, that perspective is informed by the half century in which dramatists such as Arthur Miller and Brecht emerged canonical figures. Hilton Edwards’ direction of Mother Courage and Saint Joan of the Stockyards advanced the Gate’s internationalism and helped to reshape the political nature of Irish theatre. Keywords: Hilton Edwards, Dublin Gate Theatre, Bertolt Brecht, Irish theatre, theatre and politics, Brechtian
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Rabey, David Ian. "British and Irish Women Dramatists Since 1958: A Critical Handbook. Edited by Trevor R. Griffiths and Margaret Llewellyn-Jones. Buckingham and Philadelphia: Open University Press, 1993. Pp. viii + 193. £37.50 Hb; £12.99 Pb." Theatre Research International 18, no. 3 (1993): 232. http://dx.doi.org/10.1017/s030788330001806x.
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COLLINS, CHRISTOPHER. "Synge Scholarship: Nothing to Do with Nationalism?" Theatre Research International 36, no. 3 (August 30, 2011): 272–75. http://dx.doi.org/10.1017/s0307883311000502.
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John Millington Synge (1871–1909) is the fulcrum upon which Irish drama and theatre studies is balanced. Synge's nodal position is predicated upon the dramatist's rock ‘n’ roll recalcitrance towards the dramaturgical praxis of his contemporaries; his subject matter was as shocking as the Anglo-Irish idiom in which it was articulated. After Synge's premature death in 1909, W. B. Yeats's fundamental concern was that Synge scholars would attempt ‘to mould . . . some simple image of the man’. However, W. J. McCormack's concentric biography of Synge, The Fool of the Family: A Life of J. M. Synge, and Ann Saddlemyer's The Collected Letters of John Millington Synge, have demonstrated that Synge's life was complex, multifaceted and in deep dialogue with Irish culture. But with respect to Synge's drama a simple image has surrounded critical discourse: the politics of Irish nationalism.
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Goodman, Lizbeth. "Trevor R. Griffiths and Margaret Llewellyn-Jones, eds. British and Irish Women Dramatists since 1958: a Critical HandbookBuckingham: Open University Press, 1993. 193 p. £37.50 (hbk), £12.99 (pbk). ISBN 0-335-09603-4 (hbk), 0-335-09602-6 (pbk)." New Theatre Quarterly 10, no. 37 (February 1994): 100–101. http://dx.doi.org/10.1017/s0266464x00000166.
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Ojrzyńska, Katarzyna. "Eroticism in the “Cold Climate” of Northern Ireland in Christina Reid’s "The Belle of the Belfast City"." Text Matters, no. 3 (November 1, 2013): 121–38. http://dx.doi.org/10.2478/texmat-2013-0030.
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Closely based on the dramatist’s personal experience, Christina Reid’s The Belle of the Belfast City offers a commentary on the life of the Protestant working class in the capital of Northern Ireland in the 1980s from a woman’s perspective. It shows the way eroticism is successfully used by the female characters as a source of emancipation as well as a means not only to secure their strong position in the private domain of the household, but also to challenge the patriarchal structures that prevail in the Irish public sphere. The analysis of the play proposed in this essay focuses on the contrast between the presentation of its male and female characters. I will demonstrate that, while the former group desperately cling to the idea of preserving the social status quo, the latter display a more progressive outlook on the social and sexual politics of the country. In particular, I will investigate how the tensions between the representatives of the two sexes reveal themselves in the corporal sphere. I will argue that, as opposed to the erotically-inhibited and physically-inarticulate male characters, the female dramatis personae take advantage of being more connected to their bodies and use their physicality in an erotic fashion to subvert the rules of the patriarchal system and its strict moral code that limits their social roles to those of respectful mothers, obedient sisters or virtuous wives.
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Kitishat, Amal Riyadh. "Riders to the Sea between Regionalism and Universality: A Cultural Perspective." Theory and Practice in Language Studies 9, no. 3 (March 1, 2019): 255. http://dx.doi.org/10.17507/tpls.0903.01.
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This study aims at discussing Riders to the Sea; it aims to investigate nationalism and cultural identity as two significant ways against the English cultural colonialism. Though many critics regard J.M. Synge as; and thus consider him as an example of regional dramatist because his works are related to the local Irish material. However; this study aims to correct this vision of Synge as only about Irish Celtic culture, but as an innovator of the Irish theatre and as a culturalist who shifted Irish theatre into a universal scope. Thus, though Synge's fame is due to his treatment of the "folk" drama; still, he finds in Ireland’s folk tales, myths, and traditional legends a rich source for universal interests. By tracing the reinforcement of the Irish setting and oral culture for a cultural function which aims at establishing the Irish identity and reviving its national heritage, the study argues that Synge's dramatic presentations were not only of regional or local value; but also of international and cultural significance. That is though J.M. Synge introduces his theme in a local Irish context, with a particular focus on peasants; he was able to transform the Irish theatre from the local context to universality.
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Ghanim, Fawziya Mousa. "Seanchan 's Quest Restoring of the Poet's Right in Yeasts' Play The King's Threshold." European Journal of Language and Literature 7, no. 2 (October 1, 2021): 20. http://dx.doi.org/10.26417/453wmb82a.
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William Butler Yeats (1865-1939), the prominent Irish poet and dramatist was one of the foremost figures of twentieth-century literature. He was a driving force behind the Irish Revival, and together with lady Gregory and Edward Martyn established the Abby Theatre, and served as its chief playwright during its early years. He was awarded the Noble Prize in literature for his always inspired poetry which in a highly artistic form gave expression to the spirit of a whole nation. The paper aims at analyzing the poet's quest for social freedom and poet's right in the state. The King's Threshold was first performed by the Irish National Theatre Society at the Molesworth Hall, in Dublin on 7 October, 1903. It is founded upon a Midieval-Irish story of the demands of the poets at the court of King Guaire at Gort, Co. Galway; it was also influenced by Edwin Ellis's play Sancan the bard (1905) which was published ten years earlier, by Edwin Ellis.
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Kitishat, Amal Riyadh. "William Butler Yeats: The Hidden Nationalism." Journal of Language Teaching and Research 10, no. 3 (May 1, 2019): 484. http://dx.doi.org/10.17507/jltr.1003.11.
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W.B. Yeats the famous Anglo Irish poet and dramatist was accused of a lack of sense of nationalism. His achievements in the reviving of the Irish culture as a means to establish a dependent Irish identity was regarded with suspicions simply due to his being a descendant of Anglo -Irish origins.In this light, the study comes to shed light on Yeats’ tremendous achievements concerning his sense of nationalism and his role in the reviving Irish culture. Also, the study aims at refuting the charges against Yeats which considered him as a representative of the colonizer’s class. Finally, the study proved that Yeats revealed a mature vision of nationalism which most of his contemporaries failed to notice since they only focused on one aspect of Irish identity and neglected the other; in discussing the Irish question, they were either politicians or culturalists. Whereas Yeats shows a higher degree of awareness as he believed that establishment of an identical distinctive Irish identity must be done with having both the cultural and the national elements united in one word that is “Irishness." His national creed is rooted in a kind of cohesion between culture and nationalism. It is this conclusion that not only refuted the charges againstYeats’ nationalism but also put him in a position superior to any other Irish Nationalists.
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Gorenc, Janez. "William Butler Yeats in the Slovene cultural space." Acta Neophilologica 35, no. 1-2 (December 1, 2002): 13–27. http://dx.doi.org/10.4312/an.35.1-2.13-27.
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William Butler Yeats, Irish poet, dramatist and essayist, winner of the Nobel prize in 1923, was also widely known for the active part he played in Irish politics. Even though he was mostly involved culturally - he wro.te about Irish politics in his works, established several literary clubs, founded theatres - he also activated himself as a politician when he was a senator during the years 1923-1928. This article focuses on the mention of his political activities in different English and Slovene texts. It makes a presentation of the vast majority of the texts on Yeats that have appeared in Slovene. It also points out that while the majority of English encyclopaedias and literary histories openly write about Yeats's politics, Slovene texts about Yeats focus mostly on his literary opus and less on his involvement in politics. When they do mention it, however, they usually avoid the details. This article tries to determine some reasons for this fact.
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Burdett, Sarah. "“Be Mine in Politics”: Charlotte Corday and Anti-Union Allegory in Matthew West’s Female Heroism, A Tragedy in Five Acts (1803)." Restoration and Eighteenth-Century Theatre Research 30, no. 1-2 (2015): 89–108. http://dx.doi.org/10.5325/rectr.30.1-2.0089.
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Abstract This essay draws attention to Irish playwright Matthew West’s rarely studied drama Female Heroism, A Tragedy in Five Acts (1803), performed at the Crow Street Theatre, Dublin, in 1804. The tragedy dramatizes republican woman Charlotte Corday’s murder of Jacobin leader Jean-Paul Marat, committed in July 1793. My paper contends that West’s tragedy blends an explicitly anti-Jacobin narrative, with a covertly embedded strain of Irish oppositional politics. Focusing centrally on West’s incorporation of a fabricated rape scene, which alludes strongly to contemporary allegories of the Act of Union, I hypothesize the possibility for Female Heroism to be interpreted by its Dublin theatre audience as a subtle rebuke of the union, which positions Corday as the personification of Irish independence, and Marat as the unlikely embodiment of tyrannical British rule.
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Moran, James. "Kate O'Brien in the Theatre." Irish University Review 48, no. 1 (May 2018): 7–22. http://dx.doi.org/10.3366/iur.2018.0326.
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Kate O'Brien initially made her literary reputation as a dramatist rather than a novelist. Her debut play Distinguished Villa (1926) won acclaim in London when first produced onstage, and critics compared her with Seán O'Casey. However, O'Brien's dramatic work manifests some key differences to O'Casey, not least O'Brien's recurring concern with the behavioural norms and sexual predilections of the English middle-classes, and her early awareness of the requirements of the British censor. Although O'Brien is remembered as a figure who transgressed the censorship rules of the Irish government, it was the British system of censorship she first had to navigate.
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Evans, James. "The Rivals: An Irish Expatriate Comedy." Restoration and Eighteenth-Century Theatre Research 31, no. 2 (2016): 5–18. http://dx.doi.org/10.5325/rectr.31.2.0005.
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Abstract In The Rivals Richard Brinsley Sheridan uses the allegorical possibilities of setting, character, and plot to represent the Irish expatriate’s crossing act. Bath is home to none of the characters, who, like immigrants on the move, occupy temporary residences and perform in a social milieu where they may refashion themselves and compel others to respond to their new scripts. Unlike the stage Irishman Sir Lucius O’Trigger, Jack Absolute and Bob Acres represent this crossing by assuming a different status or style. Acting as Beverley, a nobody rather than a gentleman, Jack performs the expatriate’s origin and his aspiration. His double Acres acts the macaroni in the town to compensate for his background. Drawing on the trickster of an earlier expatriate dramatist, Sheridan lets Jack succeed in the comedy that completed his own transition to a gentleman in London.
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Kvéder, Bence Gábor. "The Witness, the Silenced, and the Rebel—Women in Search of Their Voice: Female Characters in Brian Friel’s Translations and Anne Devlin’s Ourselves Alone." FOCUS: Papers in English Literary and Cultural Studies 11, no. 1 (January 12, 2023): 105–22. http://dx.doi.org/10.15170/focus.11.2018.8.105-122.
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It appears to have become a commonplace of Irish literary criticism that in Translations (1980) Brian Friel dramatizes largely national and historical issues. Referred to as his “most obviously postcolonial play” (Bertha 158), it is known for having the “nineteenth-century plot and setting [that] bore on Anglo-Irish relations in the present” (Roche, Theatre and Politics 2). Raising communal awareness, the play concentrates on the “key transitional moment when Irish gave way to English, when a culture was forced to translate itself into a different linguistic landscape” (Pelletier 68). In such a collectively damaging situation, personal problems could easily be overlooked. However, Ondřej Pilný emphasizes that Friel in general was “interested predominantly in individual people and their emotions, in their micro-narratives and their position within the surrounding discourse” (113). Whereas the hardships and traumas depicted in Translations, and especially their consequences, are suffered by the characters as members of a community in the first place, this does not necessarily mean that personal issues are missing from the drama.
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Yoon, Chong-hiok. "W. B. Yeats as a Literary Collaborator, Dramatist and Essayst in Irish Literature." Yeats Journal of Korea 6 (July 31, 1996): 85–104. http://dx.doi.org/10.14354/yjk.1996.6.85.
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Walker-Dunseith, Holly May. "Revivalist: Medical Herbs and Rejuvenation in the Works of Lady Augusta Gregory." Estudios Irlandeses, no. 18 (March 17, 2023): 1–10. http://dx.doi.org/10.24162/ei2023-11431.
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When Lady Augusta Gregory (1852-1932) effected her famous mid-life self-reinvention from Anglo-Irish landlady to revivalist dramatist, healing women from her locality provided significant guides and models for her new life and work. This article will discuss what Gregory learned from the lore of a local healer, the shadowy Bridget Ruane (who died c.1899). It will analyse how Gregory worked Ruane’s folk medical knowledge into her prose writings and plays, including The Pot of Broth (1904). In restoring the name of this non-elite woman from the west of Ireland, this article suggests the benefits of casting the net more widely for names to stand alongside Gregory’s as creators of Revival-era culture.
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Gallagher, S. F. "Brian Friel: The Growth of an Irish Dramatist by Ulf Dantanus (review)." Modern Drama 30, no. 3 (1987): 434–35. http://dx.doi.org/10.1353/mdr.1987.0045.
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Woodward, Guy. "‘These people know what they're fighting for’: Denis Johnston and the Partisans." Irish University Review 48, no. 2 (November 2018): 331–47. http://dx.doi.org/10.3366/iur.2018.0358.
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In March 1944 the dramatist and BBC radio correspondent Denis Johnston travelled to the Croatian island of Vis, to record spoken and sung contributions by Yugoslav Partisans and British Royal Air Force officers stationed there. Examining Johnston's wartime memoir Nine Rivers From Jordan alongside his broadcasts, manuscripts and notebooks, this essay considers the visit as a moment of imaginative liberation and escape, made possible both by Vis's utopian status as an island free from Nazi occupation and by the egalitarian social environment that he found there. Johnston's accounts are not entirely celebratory however, and the register of escape is complicated by the affinities he detects between the landscape of Vis and that of the West of Ireland, and between the communist Partisans and Irish Republicans.
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Swettenham, Neal. "Irish Rioters, Latin American Dictators, and Desperate Optimists' Play-boy." New Theatre Quarterly 21, no. 3 (July 18, 2005): 241–54. http://dx.doi.org/10.1017/s0266464x0500014x.
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The narrative process is inherently selective and consequently open to distortion and falsification. J. M. Synge humorously illustrated this in The Playboy of the Western World, in which his central character, Christy Mahon, reinvents himself through the telling and retelling of his own story. Play-boy, a much more recent performance work created by Desperate Optimists, takes as its opening gambit the riots that accompanied the first performances of this controversial Irish classic and adds a bewildering variety of other narrative materials to the mix—providing, as it does so, a tongue-in-cheek commentary on this story about stories. A detailed account of the show in performance and the manner in which the company construct their own tall tales initiates an investigation into how fact becomes fiction in the creation of new narrative accounts, narrative being considered as a participatory event that is both a psychological imperative and a ludic pleasure. Neal Swettenham lectures in drama at Loughborough University. His research into the role and status of narrative in contemporary theatre has led him to fresh examinations of both traditional story-based drama and avant-garde performance work. In particular, he has written about the plays of American dramatist Richard Foreman and is currently exploring the challenges presented to both actor and director by these texts.
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MURPHY, PAUL. "Class and Performance in the Age of Global Capitalism." Theatre Research International 37, no. 1 (January 26, 2012): 49–62. http://dx.doi.org/10.1017/s0307883311000769.
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This article addresses the relative absence of class-based analysis in theatre and performance studies, and suggests the reconfiguration of class as performance rather than as it is traditionally conceived as an identity predicated solely on economic stratification. It engages with the occlusion of class by the ascendancy of identity politics based on race, gender and sexuality and its attendant theoretical counterparts in deconstruction and post-structuralism, which became axiomatic as they displaced earlier methodologies to become hegemonic in the arts and humanities. The article proceeds to an assessment of the development of sociological approaches to theatre, particularly the legacy of Raymond Williams and Pierre Bourdieu. The argument concludes with the application of an approach which reconfigures class as performance to the production of Declan Hughes's play Shiver of 2003, which dramatizes the consequences of the dot.com bubble of the late 1990s for ambitious members of the Irish middle class.
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Carregal Romero, José. "“I am not one of his followers”: The Rewriting of the Cultural Icon of the Virgin in Colm Tóibín’s The Testament of Mary." Revista Alicantina de Estudios Ingleses, no. 26 (November 15, 2013): 89. http://dx.doi.org/10.14198/raei.2013.26.07.
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However, the devotion to Mary has turned her into a powerful icon of religious folklore in many Catholic societies. In Ireland, the Virgin has often been used as a figure for cultural nationalism, characterised by its religious orthodoxy, rigid moral codes and a staunch defense of patriarchy. In The Testament of Mary (2012), Irish author Colm Tóibín, a lapsed Catholic and anti-traditionalist intellectual, rewrites the cultural icon of the Virgin and offers a humane, complex and highly subversive portrait of this legendary mother. Exiled in Ephesus, the Virgin feels repelled by the constant visits of her “guardians”, who want her to recount the event of the Crucifixion. It is soon revealed that the apostles are trying to appropriate her voice and experiences, as Mary readily intimates that one of the guardians “has written of things that neither he saw nor I saw” (5). The questions of voice, agency and performance become essential in the reshaping of narratives of cultural identity. Thus, the novel dramatises the importance of articulating one’s own voice through Mary’s urge “to tell the truth of what happened” (82) on her own terms.
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Bassnett, Susan. "Pirandello's Debut as Director: the Opening of the Teatro d' Arte." New Theatre Quarterly 3, no. 12 (November 1987): 349–51. http://dx.doi.org/10.1017/s0266464x00002487.
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In this, the centenary year of Pirandello's birth, there has been a revival, hopefully more than just circumstantial, of interest in his work in the English-speaking theatre – which has previously tended to acknowledge his influence without often producing his plays. But Pirandello's own theatrical ambitions, which came quite late in his creative life, were initially as a director – indeed, the association with Mussolini which has sometimes cast a pall upon his reputation was largely in the interests of obtaining state patronage for his Teatro d' Arte company, which struggled unsuccessfully for survival between 1925 and 1928. Initially, however, hopes were high, and the inaugural productions both artistically and technically exciting. In the following feature. Susan Bassnett, a Pirandello specialist who teaches in the Graduate School of Comparative Literature in the University of Warwick and is a regular contributor to NTQ, describes the circumstances behind the opening of the company, while Alessandro Tinterri, of the Actors' Museum of Genoa, analyzes the curious encounter in the first major production. The Gods of the Mountain, between Pirandello as director and the now little-remembered Irish cricketer-dramatist. Lord Dunsany.
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Skalnaya, Yulia A. "“Pantaloon” and “Columbine” in the Land of the Soviets: Bernard Shaw and Nancy Astor’s Visit to the USSR in 1931." Literary Fact, no. 32 (2024): 292–319. http://dx.doi.org/10.22455/2541-8297-2024-32-292-319.
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The research is dedicated to the well-known visit of the Irish dramatist Bernard Shaw and the British MP Lady Nancy Astor to the USSR in 1931. However, it seeks to avoid the format of a clichéd observation of commonly known facts concerning their stay in the Land of the Soviets and aims to concentrate on previously unknown circumstances of the preparation of that trip organised by representatives of the People’s Commissariat for Foreign Affairs and diplomats of the Soviet Embassy in London, on the one hand, and the media struggle evoked by that visit within the Soviet and the British press. The novelty of the research is provided by the use of numerous archival documents (AVP RF, RGALI) as well as quoting Bernard Shaw’s private correspondence and his friend Beatrice Webb’s diaries that have not been translated into Russian. The methodological foundation of this article is built upon the biographical and cultural-historic approaches; it also employs narrative techniques in recreating the historical background of Shaw’s visit, and content analysis in commenting on the media publications, and methods of archival research per se. Having considered the abovementioned documents, one can conclude that despite Shaw’s avid interest in Russia, his visit there was to a large extent spontaneous, which, together with Nancy Astor’s unpredictable escapades, caused considerable difficulties to the Soviet officials. Nevertheless, the variety of experiences offered to the British guests as well as the satisfaction of both reasonable and whimsical requests made by the dramatist managed to produce a favourable impression on the company and lead to Shaw’s companions giving generally positive feedback of the trip to the USSR whereas Shaw himself exalted in rave reviews. As a result, the victory scored by the Soviet soft power instigated a deluge of publications in the British media that aimed to discredit Shaw and Lady Astor as central figures of the trip. However, it cannot be said that those angry and even harsh commentaries caused any serious damage to their reputation or influenced their opinions of the USSR at the time.
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Parker, Michael. "‘His Nibs’: Self-Reflexivity and the Significance of Translation in Seamus Heaney's Human Chain." Irish University Review 42, no. 2 (November 2012): 327–50. http://dx.doi.org/10.3366/iur.2012.0036.
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Drawing on rare archive material, this essay begins by exploring factors that might explain why Seamus Heaney's work is so self-reflexive, self-referential in its cast, and how despite the verification gained from within his family, from mentors at school and university, from academic success and critical acclaim, tensions persisted in him about the value of the artistic enterprise. Its principal focus is his latest collection, Human Chain, which repeatedly dramatises such moments of division, as his hand accustomed itself to holding the pen and making it speak of ‘fissured traditions’. Acts of translation - linguistic, cultural, psychological, spiritual - play a hugely significant part in this collection, a sign of his ongoing quest for self-renewal and reconciliation and of his assent to T.S. Eliot's contention that ‘The serious writer of verse must be prepared to cross himself with the best verse of other languages and the best prose of all languages’. Close analyses of individual poems and sequences demonstrate the plurality of traditions which energise the collection, which incorporates repeated echoes from English Romanticism in its opening movement, proceeds to ‘derrycise’ Virgil's Aeneid VI in its central section, and ends constructing lines of linguistic, musical, and formal continuity with the ‘much-tried pens’ of Irish cultural tradition, medieval and modern.
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Leonard, Hugh. "Home Before Night." Scenario: A Journal of Performative Teaching, Learning, Research VII, no. 2 (July 1, 2013): 1–6. http://dx.doi.org/10.33178/scenario.7.2.1.
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In this rubric we present various perspectives on theatre – historical and contemporary, intercultural and culture-specific, unexpectedly weird, unusually suspenseful, disturbedly gripping, fascinatingly enigmatic … In this autobiographical text, Irish author Hugh Leonard remembers moments from his youth that triggered his curiosity for theatre and set the course for his later career as a playwright/dramatist. Every morning when you came in, you signed the attendance book, and Mr Drumm would carry it off to his own table to mark the names of the latecomers in red ink. One day, he made to pick up the book, then looked closely at it. ‘Come here and sign your name, Mr Kennedy,’ he said.‘Oh, I signed me name,’ Mr Kennedy said without budging from his chair, and sure enough Jack had seen him bending over the book with a pencil in his hand. ‘You did not sign your name,’ Mr Drumm said. ‘You will come here and do so now.’ ‘Oh, I signed it right enough,’ Mr Kennedy said happily. A redness was spreading into Mr Drumm’s face. ‘And I tell you you did not. Now sign this book or be marked absent.’ Mr Kennedy just grinned as if he was too cute ...
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Rohozha, Mariya. "«THE MAKROPULOS AFFAIR» AND THE THINKING ABOUT LONGEVITY AND THE SENSE OF LIFE." Doxa, no. 1(35) (December 22, 2021): 54–65. http://dx.doi.org/10.18524/2410-2601.2021.1(35).246720.
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The paper deals with the play, written by the Czech writer Karel Čapek «The Makropulos Affair». The play is analyzed in the context of philosophical search of the time of its emergence. Particularly, I. I. Mechnikov’s essays concerning longevity and accompanying it the sense of life matters are observed in the paper. Also, the author makes the comparative analysis of the ideas, represented by the K. Čapek’s play and by the Irish dramatist George Bernard Shaw’s theatrical work «Back to Methuselah», in which the ideas of longevity and the sense of life were raised. These works were published almost simultaneously, and both authors were influenced by Mechnikovs’ views. The points of contact and differences in authors’ positions are observed. The paper represents modi of actualization of longevity and the sense of life issues in the contemporary culture by the examples of the musical «The Recipe of her Youth» and the case study from the Julian Baggini’s popular philosophy guide «The Pig that Want to Be Eaten». We can agree with the Baggini’s idea that the sense of life is not defined by the numbers of years, but by their fullness with contents and the desire to use them in full.
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Webster, Peter. "Vocation, Hypocrisy and Secularization: Iris Murdoch and the Clergy of the Church of England." Studies in Church History 60 (May 23, 2024): 511–32. http://dx.doi.org/10.1017/stc.2024.20.
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This article examines the treatment of Anglican clergy in the novels of Iris Murdoch, setting this discussion in the context of Murdoch's own engagement with Christianity: one of sympathy without assent, yet with detailed knowledge of the secularizing theologies of the period. Clerical interventions in pastoral situations, politely tolerated in the earlier novels, are openly and robustly rejected in the later books. That pastoral care is, for Murdoch, vitiated by a desire for control, against which Murdoch set her ideal of self-emptying attention. Murdoch also dramatizes the loss of faith which forced, on some of the clergy, an inconsistency between outward speech and inner conviction. For some, the apparent hypocrisy is resolved by suicide or exile; for others, their vocation must continue as a witness to something absolute, even if they themselves can longer articulate its nature with any conviction. The Church remains necessary even if God himself is not.
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Hou, Siyan. "Psychological Growth of the Protagonist in Pygmalion from Ecological System Theory." Social Science, Humanities and Sustainability Research 4, no. 5 (December 15, 2023): p159. http://dx.doi.org/10.22158/sshsr.v4n5p159.
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George Bernard Shaw was an Irish playwright, critic, polemicist and political activist. His influence on Western theatre, culture and politics has extended all over the world from 1880s up until now. He wrote more than sixty plays, including major works such as Man and Superman, Pygmalion and Saint Joan. With the great capacity of using play to reflect the reality, Shaw became the leading dramatist of his era. Shaw’s Pygmalion is one of the most popular of his plays. It has been staged all over the English speaking world. And even a film based on the play called My Fair Lady has proved to be an immense success, and has made everyone knows about this play. Its popularity has been perennial and universal.Henry Higgins, a professor of phonetics, one day overhears a flower girl named Eliza Doolittle and mocks the common way she talks. The next day, Eliza shows up and asks Higgins to teach her talk properly. But his friend Colonel Pickering bets him that he can’t make Eliza talk like a lady in six months’ time. During the time that he accepts the challenge and teaches Eliza, Eliza has many psychological growth. Based on the ecological system theory, this paper makes an analysis of the positive influences of the environment on Eliza from different people and society in reference with five dimensions—microsystem, mesosystem, exosystem, macrosystem and chronosystem. The influence from Eliza’s original family, especially from her father, the guidance and deeds of Higgins, and some effects from the society as the microsystem provide positive help for the psychological growth of Eliza. And the interactions among the microsystem, which construct the mesosystem, together with the exosystem and macrosystem make Eliza, a flower girl, grows into a Duchess Eliza with pride and self-consciousness.
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Dotsenko, Elena G. "Melodramatic Tradition vs Colorblind Casting for Branden Jacobs-Jenkins’ Plays." Literature of the Americas, no. 16 (2024): 190–208. http://dx.doi.org/10.22455/2541-7894-2024-16-190-208.
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The article concerns with the plays An Octoroon and Gloria by contemporary American playwright Branden Jacobs-Jenkins. The dramaturgy of one of the most notable authors, writing for the US theatre at the present time, is thematically varied; besides, it includes both Jacobs-Jenkins’ original works (e.g., Gloria, 2015) and his adaptations of plays by other authors and/or other epochs. Among the adaptations there is the most famous of Jacobs-Jenkins' plays so far — An Octoroon (2014), which is the author's treatment of 19th century melodrama The Octoroon (1859) by Anglo-Irish dramatist Dion Boucicault. Working with the play of the 19th century, which reveals the problems of slavery in a simplified, melodramatic form, allows the contemporary playwright to actualize the consideration of racial conflicts and to reconstruct/deconstruct the generic model of melodrama. The author of the article draws attention to the reception of the minstrel tradition in the play An Octoroon, both at the level of interaction of D. Boucicault's work with American minstrel show coinciding with it in time, and in connection with the comprehension and overcoming of the “minstrel archetypes” by B. Jacobs-Jenkins. The question of casting is very important to Jacobs-Jenkins, the playwright puts forward his requirements for ethnic conformity between actors and roles in his plays, and this brings together An Octoroon and Gloria, though the works are diverse in genre and subject matter. The cultural context for the works of the American playwright is, first of all, the drama and theater of the United States throughout their development. For further studies it also seems interesting to consider B. Jacobs-Jenkins’ plays in connection with folklore traditions or, e.g., in the context of sacred genres.
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Brauer, Jerald C. "Revivalism RevisitedTriumph of the Laity: Scots-Irish Piety and the Great Awakening, 1625-1760. Marilyn J. WesterkampHoly Fairs: Scottish Communions and American Revivals in the Early Modern Period. Leigh Eric SchmidtSeasons of Grace: Colonial New England's Revival Tradition in Its British Context. Michael J. CrawfordThe Divine Dramatist: George Whitefield and the Rise of Modern Evangelicalism. Harry S. StoutThe Protestant Evangelical Awakening. W. R. WardEvangelicals and Politics in Antebellum America. Richard J. Carwardine." Journal of Religion 77, no. 2 (April 1997): 268–77. http://dx.doi.org/10.1086/489973.
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"Contemporary Irish dramatists." Choice Reviews Online 27, no. 03 (November 1, 1989): 27–1470. http://dx.doi.org/10.5860/choice.27-1470.
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"British and Irish women dramatists since 1958: a critical handbook." Choice Reviews Online 31, no. 05 (January 1, 1994): 31–2610. http://dx.doi.org/10.5860/choice.31-2610.
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KARABULUT, Tuğba. "A Feminist Analysis of George Bernard Shaw’s Mrs. Warren’s Profession: The Concept of the “New Woman”." İnsan ve Sosyal Bilimler Dergisi, October 24, 2023. http://dx.doi.org/10.53048/johass.1364902.
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Mrs. Warren’s Profession was written in 1893 by the Irish critic and dramatist George Bernard Shaw, who introduced social realism to the British stage. First performed in 1902 in London, the text is a social critique satirizing the stereotypical Victorian norms. Reflecting Shaw’s feminist ideals, the play also contributed to the development of the feminist movement. Mrs. Warren’s Profession introduces the “New Woman” type who rebels against the stereotyped female representations and male-centered conventions of the nineteenth century. The play mainly revolves around a controversial taboo topic, prostitution. Shaw dramatizes this profession through the two untraditional female characters. Kitty Warren is an audacious woman running a brothel to provide her daughter with better life and education standards and Vivie is a highly-educated and independent woman who expostulates her mother for her profession. Mrs. Warren’s Profession stresses that it is the social, economic and moral ills of the society that lead women to choose this profession. This paper, from a feminist lens, links these two non-conformist characters to navigate the ways through which the concept of the “New Woman” is represented. This paper also investigates how these characters protest against the stereotypical female roles imposed on them to gain an autonomous identity within society. Thus, this study, through these two female characters, reveals how this play dethrones the myth of the “Angel in the House,” the ideal Victorian woman, and sheds light on the modern feminism.
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GOLBAN, Tatiana. "Martin McDonagh’ın Leenane’nin Güzellik Kraliçesi Eserinde Grotesk Atrideler." HUMANITAS - Uluslararası Sosyal Bilimler Dergisi, August 17, 2022. http://dx.doi.org/10.20304/humanitas.1140454.
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The first staging of Martin McDonagh’s play The Beauty Queen of Leenane (1996) received extreme praise and box-office success, but this accomplishment was overshadowed by some contradictory comments regarding the playwright’s attitude towards Irish identity and culture. This study aims to argue that the Irish-born dramatist engages with the grotesque conventions while depicting the image of native land, culture, and societal norms. In order to achieve this, our study reveals the ways in which McDonagh’s play interacts with the myth of Atrides, Wolfgang Kayser’s notion of grotesque, Mikhail Bakhtin’s concepts of carnivalesque and grotesque, as well as Julia Kristeva’s state of abject, which are used by the playwright to expose the societal anxieties related to the issues of identity, motherhood, emigration, and rootedness. Eventually, in the collision between mythical matrix and the grotesque depictions, McDonagh raises the spectators’ awareness of the necessity of some individual and societal reforms.
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Matiychak, Aliona, Natalia Nikoriak, and Alyona Tychinina. "Ontology of the Art Phenomenon in Iris Murdoch’s Fiction." Primerjalna književnost 46, no. 3 (November 20, 2023). http://dx.doi.org/10.3986/pkn.v46.i3.08.
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This article explores the intermedial dialogue of the arts in the oeuvre of British writer and philosopher Iris Murdoch. The ontology of the phenomenon of art and its functional meaning in Murdoch’s fiction, the specifics of the relationship between the arts in her philosophical essays and dialogues are considered from the perspective of intermediality. Based on the intermedial study methodology, Murdoch’s theoretical and philosophical views on the multifunctional nature of art, the interaction of the artist and the artwork are revealed. Key techniques of interartistic discourse, including anthroponymic allusions, are considered as intermedial markers of Murdoch’s texts, identified and explored at the level of imagological transformations. People of art: artists, artistic discourse partakers, as well as recipients of art constitute a particular kind of characters in Murdoch’s novels. Accordingly, the importance of the recipient, who acts as an essential link in the receptive matrix of “author-text-recipient-artwork,” is emphasized in the ontology of an artwork. The particular meeting point of Murdoch’s characters is the artistic topos: a museum, an exhibition, an art gallery or an artist’s house. In addition, the reader of her fiction repeatedly encounters various ekphrastic codes: the ekphrases of paintings are not only present in Murdoch’s texts, but function as anthropomorphised characters, dramatis personae, have their own space (physical and mental places) and play a crucial role in the protagonists’ lives. Consequently, we find that the use of intermedial components is one of the markers of Iris Murdoch’s idiostyle, which topicalizes important aspects of the philosophy of art and brings it into the realm of ontological questions.