Relevant bibliographies by topics / Irish playwrights

Academic literature on the topic 'Irish playwrights'

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Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Irish playwrights"

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Porter, Roger. "Oscar on the Boards: Playwrights Represent the Playwright on Stage." New Theatre Quarterly 34, no. 1 (January 10, 2018): 47–57. http://dx.doi.org/10.1017/s0266464x17000677.

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In this article Roger Porter analyzes five plays about Oscar Wilde, by Leslie and Sewell Stokes, David Hare, Eric Bentley, Moises Kaufman, and Terry Eagleton. He focuses on various aspects of the three Wilde trials of 1895, and shows how, while the plays employ verbatim transcripts of the court records, they use the latter in quite different ways and with different emphases, suggesting how the several playwrights regard Douglas in his relation with Wilde, as well as Douglas's implication in the verdict. Several of the plays focus almost exclusively on Wilde's personality, while others engage with larger issues, including Victorian moral regulation of sexuality, the relation of art to society, and English attitudes towards the Irish. He also stresses how the plays’ dramaturgy relates to their perspectives on Wilde, especially on his cultural role. Roger Porter is Professor Emeritus of English, Reed College, Portland, Oregon, USA. He is the author of Self-Same Songs: Autobiographical Performances and Reflections (University of Nebraska Press), Bureau of Missing Persons: Writing the Secret Lives of Fathers (Cornell University Press), and co-editor (with Sandra Gilbert) of Eating Words: a Norton Anthology of Food Writing.
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Mikami, Hiroko. "Richard Bean’s The Big Fellah (2010) and Jez Butterworth’s The Ferryman (2017): two plays about the Northern Troubles from outside of Northern Ireland." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 73, no. 2 (May 25, 2020): 115–26. http://dx.doi.org/10.5007/2175-8026.2020v73n2p115.

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During the three decades of the Troubles of Northern Ireland (1969-1998), a remarkable amount of plays about the Troubles was written and almost of them, it seems, had been ‘monopolised’ by (Northern) Irish playwrights. Recently, however, certain changes about this monopoly have been witnessed and those who do not claim themselves as Irish descendants have begun to choose the Northern Troubles as their themes. Also, there have been growing concerns about violence worldwide since 9.11. This article deals with two plays, Richard Bean’s The Big Fellah and Jez Butterworth’s The Ferryman, neither of which was written by an Irish playwright and examines whether and to what extent it is possible to say that they can transcend regional boundaries and become part of global memories in the context of the post-Good Friday Agreement and the post 9.11.
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Wiśniewski, Tomasz. "Between languages. On bilingual issues in modern British and Irish drama." Tekstualia 3, no. 46 (July 4, 2016): 111–20. http://dx.doi.org/10.5604/01.3001.0013.4208.

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The article concentrates on tensions between centres and peripheries in modern British and Irish drama. The research material encompases plays by GB Shaw, WB Yeats, JM Synge, Peter Shaffer and works by immigrant contemporary playwrights (e.g. H. Khalil, H. Abdulrazzak, and T. Štivičic), whose work introduces new perspectives to British stage. Among the topics that are scrutinised, the following seem important: London-based model of theatre as opposed to the models emerging from other cultural centres; British and Irish theatre traditions and their interrelations with artistic innovations arriving from the continent; literary and theatre conventions; relations between playwrights, directors, actors, and other theatre makers. The overall argument is presented from the perspective based on Tartu-Moscow School of Semiotics.
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Vaněk, Joe. "An Outsider’s Eye: The Art of Designing for Theatre." Review of Irish Studies in Europe 4, no. 1 (June 14, 2021): 121–45. http://dx.doi.org/10.32803/rise.v4i1.2652.

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Part memoir, part theatre history, in this illustrated essay Joe Vaněk invites us to an inside-view on the design process. Choosing key performances of European plays (Brecht, Ibsen) adapted by Irish writers, Vaněk takes us through the thought processes and work practices that bring a play from page to stage, with descriptions and photographs to illustrate his design choices and thinking. Additionally, he offers us insights into working with Irish playwrights who examine Ireland’s relationship to Europe, for example in his designs for Frank McGuinness’s Innocence: The life of Caravaggio, and the work of Brian Friel and Hugo Hamilton. Vaněk traces his own influences, from the theatre work of the Czech designer Josef Svoboda to painters, architecture, and landscape. His reflections reveal the complexity of the role of the designer and the intricate workings of theatre practice Keywords: Theatre design, costume design, Irish playwrights, Brian Friel, Frank McGuinness, Hugo Hamilton, Gate Theatre
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Novkinić, Sandra. "“Women’s Voices in Contemporary Irish Theatre." Anafora 9, no. 1 (2022): 45–61. http://dx.doi.org/10.29162/anafora.v9i1.3.

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The issue of re-establishing the contemporary Irish women playwrights to prominence has gained great attention. Women playwrights feel the need to combat systemic prejudice in the theatre industry, meaning that postfeminists in Ireland are very much present. Although often regarded as a synonym for third-wave feminism, postfeminism has its separate characteristics. One of them is that postfeminism defines equality differently than has been done previously. Equality should not look like androgyny, nor should it be strictly divided based on gender since such a division ignores the human elements of thought, intellect, emotion, and expression. Furthermore, ethical issues in literature have been identified and discussed worldwide for years, not excepting the contemporary Irish theatre. The aim of this paper is to show a notable step towards an increased emphasis on the issue of gender responsibility and solidarity, or lack thereof. The paper also deals with ethical implications and consequences of the ways in which these issues underpin social interactions as well as family and gender relations that Marina Carr and Nancy Harris dramatize in their plays.
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Shamina, Vera B. "MEET JOHN BRENDAN KEANE ON RUSSIAN SCENE." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 5, no. 3 (September 1, 2020): 80–94. http://dx.doi.org/10.18522/2415-8852-2020-3-80-94.

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The article off ers a commentary on a selected fragment of the Russian translation of the play “Th e Field” by the contemporary Irish playwright John Brendan Keane, which was fi rst staged at the annual theater festival in Perm in October 2020. Th e choice of this play as one of the main events of the international Martin McDonagh Festival is explained. Th e article highlights the scale of the festival program, which since 2014 includes performances from 57 countries; the role of organizational and creative initiatives of the theater “At the Bridge” (dir. Sergey Fedotov), creative interpretations of Irish realias and artistic ideas of playwrights on the stage of Russian theaters; an active reception of art critics and the festival-goers. Special attention is paid to the creative idea and cultural contexts of Keane’s play “Th e Field”, as well as the tasks faced by the translator of the play into Russian.
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Hwang, Ji Hyea. "Transcolonial Nationhood." Journal of World Literature 5, no. 3 (July 23, 2020): 393–409. http://dx.doi.org/10.1163/24056480-00503005.

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Abstract The genre of modern drama was established in Korea primarily during Japan’s occupation (1910–1945), by playwrights such as Yu Ch’i-jin who sought to represent Korean nationhood on stage. Yu was especially influenced by Irish playwrights, due to the parallels he recognized in the two colonial nations. Moreover, he was also concerned with the genre of modern drama on the global scale, as he agreed with his contemporaries that Korean literature must become interconnected with world literature. As a colonial writer, Yu wrote and staged Korean national drama that was inspired by Irish national drama, which he studied alongside other foreign – mostly European – literary traditions while studying in Japan. Françoise Lionnet’s concept of transcolonialism, a spatial approach to understanding the network of colonial literatures, will be used to analyze the complex set of influences on Yu’s writings.
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Clare, David, Fiona McDonagh, Justine Nakase, Tanya Dean, Barry Houlihan, and Gemma Whelan. "The Golden Thread: Irish Women Playwrights, 1716–2016: A Roundtable." New Hibernia Review 26, no. 1 (March 2022): 13–34. http://dx.doi.org/10.1353/nhr.2022.0002.

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Finnigan, Robert. "An underground theatre: major playwrights in the Irish language 1930–1980." Irish Studies Review 27, no. 4 (September 6, 2019): 599–601. http://dx.doi.org/10.1080/09670882.2019.1664023.

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González Chacón, María del Mar. ""Speaking through Another Culture": Frank McGuinness’s Version of Federico García Lorca’s The House of Bernarda Alba (La Casa de Bernarda Alba)." Miscelánea: A Journal of English and American Studies 60 (November 28, 2019): 71–89. http://dx.doi.org/10.26754/ojs_misc/mj.20196288.

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Translation and adaptation play an essential role in Irish contemporary theatre. Irish playwrights have turned to continental writers, such as Federico García Lorca, to rewrite their culture through another culture. Frank McGuinness has followed this tradition but, while his rewritings of Euripides or Sophocles have been widely discussed by scholarship, his version of Lorca’s The House of Bernarda Alba (1991) remains an unpublished text and, consequently, has not been the object of critical attention. This article intends to engage in close analysis of the play, addressing the strategies used by McGuinness to accommodate Lorca in the Irish context, and how the Lorquian themes voice the situation of women in the Northern Ireland of the 1990s, where McGuinness’s play was first produced.
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Dissertations / Theses on the topic "Irish playwrights"

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Riordan, 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.

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This thesis argues that prominent in the purposes of the dramaturgy of Irish playwright Sean O'Casey was the promotion of his political causes - most notably socialism. In his avidity for the cause of establishing a workers' paradise, following the Soviet model, in Ireland, his ire was drawn to the movements and institutions he perceived as distracting the masses from pursuit of this ideal: republicanism and the Church. These political ideals are prominent themes in his collected works - both fiction and non-fiction. The work is essentially divided into two sections. The first examines the development of O'Casey's ideologies - his socialism, anti-nationalism and anti-clericalism - and the backdrop against which they developed. The purpose is to establish just how passionately O'Casey felt about these ideals and how, in his letters, histories and autobiographies, he dedicated much of his effort to promoting them. Having dedicated so much time and energy to championing socialism and attacking the Church in these texts, it is little wonder they should appear so prominently in his plays. The thesis argues that O'Casey distorted the content of his Autobiographies to reinforce his role as self appointed champion of Dublin's "bottom fifth" and his beloved working class. It contends that O'Casey embellished the suffering of his childhood and the hardship endured by his family to fortify his credentials as a "socialist hero" - to be "for them" he sought to be "of them," and to provide a model for how learning and conversion to the socialist ideal would liberate them from the economic oppression that kept them low. A number of facts, even elementary ones like the number of children in the Casey brood and particular dates and addresses where he had lived, were changed to cultivate the working class hero image, the disadvantaged boy who rose up against all that an unjust and unsympathetic world could throw at him, that he so coveted. The more abject the origins, the greater the final triumph. The thesis then looks briefly at the origins and purposes of the Abbey Theatre, and its part in the Irish Renaissance that gave O'Casey his start. It focuses particularly on the role of Yeats, and his desire to build a dramatic movement which created work free from opinion. His famous determination to "reduce the world to wallpaper" brought him into conflict with O'Casey, who saw his plays as a legitimate vehicle for the expression of his own world view. It is important, in terms of the objective of this study, to establish that O'Casey's works were deliberately constructed pieces of didacticism, to demonstrate just how inimical to the original intent of the movement his purposes were. With this in mind, it is instructive to compare him with the other great Irish dramatist of the period, John Millington Synge, whose works, with their more rustic focus, promoted the kind of impressionistic 'slice of life' theatre the Abbey founders were championing. For O'Casey, the cause was paramount. He wrote morality plays. The study examines how O'Casey's dominant ideological position evolved by examining his own changing perspective about the world around him. It shows how O'Casey began to see all struggles in terms of the economic one between classes, and how he came to be converted to the tenets of socialism. His opposition to nationalism and his anti-clericalism essentially reflected his belief that they were hostile to the interests of the workers, and therefore must be engaged. The dominant sources in this section are O'Casey's letters, his Autobiographies, and his book, The Story of the Irish Citizen Army. The second section of the thesis focuses on the first seven extant plays: The Harvest Festival, The Shadow of a Gunman, Juno and the Paycock, The Plough and the Stars, The Silver Tassie, Within the Gates, and The Star Turns Red, and examines how each promotes O'Casey's causes. The purpose of the thesis is not to promote a reworking of the biographical detail of O'Casey's life, but to trace the shift in the playwright's ideology - from Protestant Orange to Republican Green and finally, and most steadfastly, Socialist Red - and examine how these beliefs found voice in the characters and construction of his earlier plays.
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Riordan, 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.

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This thesis argues that prominent in the purposes of the dramaturgy of Irish playwright Sean O'Casey was the promotion of his political causes - most notably socialism. In his avidity for the cause of establishing a workers' paradise, following the Soviet model, in Ireland, his ire was drawn to the movements and institutions he perceived as distracting the masses from pursuit of this ideal: republicanism and the Church. These political ideals are prominent themes in his collected works - both fiction and non-fiction. The work is essentially divided into two sections. The first examines the development of O'Casey's ideologies - his socialism, anti-nationalism and anti-clericalism - and the backdrop against which they developed. The purpose is to establish just how passionately O'Casey felt about these ideals and how, in his letters, histories and autobiographies, he dedicated much of his effort to promoting them. Having dedicated so much time and energy to championing socialism and attacking the Church in these texts, it is little wonder they should appear so prominently in his plays. The thesis argues that O'Casey distorted the content of his Autobiographies to reinforce his role as self appointed champion of Dublin's "bottom fifth" and his beloved working class. It contends that O'Casey embellished the suffering of his childhood and the hardship endured by his family to fortify his credentials as a "socialist hero" - to be "for them" he sought to be "of them," and to provide a model for how learning and conversion to the socialist ideal would liberate them from the economic oppression that kept them low. A number of facts, even elementary ones like the number of children in the Casey brood and particular dates and addresses where he had lived, were changed to cultivate the working class hero image, the disadvantaged boy who rose up against all that an unjust and unsympathetic world could throw at him, that he so coveted. The more abject the origins, the greater the final triumph. The thesis then looks briefly at the origins and purposes of the Abbey Theatre, and its part in the Irish Renaissance that gave O'Casey his start. It focuses particularly on the role of Yeats, and his desire to build a dramatic movement which created work free from opinion. His famous determination to "reduce the world to wallpaper" brought him into conflict with O'Casey, who saw his plays as a legitimate vehicle for the expression of his own world view. It is important, in terms of the objective of this study, to establish that O'Casey's works were deliberately constructed pieces of didacticism, to demonstrate just how inimical to the original intent of the movement his purposes were. With this in mind, it is instructive to compare him with the other great Irish dramatist of the period, John Millington Synge, whose works, with their more rustic focus, promoted the kind of impressionistic 'slice of life' theatre the Abbey founders were championing. For O'Casey, the cause was paramount. He wrote morality plays. The study examines how O'Casey's dominant ideological position evolved by examining his own changing perspective about the world around him. It shows how O'Casey began to see all struggles in terms of the economic one between classes, and how he came to be converted to the tenets of socialism. His opposition to nationalism and his anti-clericalism essentially reflected his belief that they were hostile to the interests of the workers, and therefore must be engaged. The dominant sources in this section are O'Casey's letters, his Autobiographies, and his book, The Story of the Irish Citizen Army. The second sectio of the thesis focuses on the first seven extant plays: The Harvest Festival, The Shadow of a Gunman, Juno and the Paycock, The Plough and the Stars, The Silver Tassie, Within the Gates, and The Star Turns Red, and examines how each promotes O'Casey's causes. The purpose of the thesis is not to promote a reworking of the biographical detail of O'Casey's life, but to trace the shift in the playwright's ideology - from Protestant Orange to Republican Green and finally, and most steadfastly, Socialist Red - and examine how these beliefs found voice in the characters and construction of his earlier plays.
Thesis (Masters)
Master of Philosophy (MPhil)
School of Humanities
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3

Hill, Shonagh L. "Embodied mythmaking : reperforming myths of femininity in the work of twentieth and twenty first century Irish women playwrights." Thesis, Queen's University Belfast, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.534727.

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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.

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Han, Chen-Wei, and 韓震緯. "The Spatial Politics of Home: Gender, Nation-Building and Female Diaspora in Irish Playwright Brian Friel’s Dancing at Lughnasa and The Loves of Cass McGuire." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/84804771816684439587.

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碩士
國立臺灣大學
外國語文學研究所
100
This thesis seeks to explore the spatial politics of home in Irish playwright Brian Friel’s plays: Dancing at Lughnasa (1990) and The Loves of Cass McGuire (1966). I would like to draw upon the theory of social construction of scale, feminist geography on home and other relevant theorizations on home, such as the unhomely, or uncanny, in order to explore the contested relationships between home and Irish women after the establishment of the Irish Free State in 1922. Set in Ballybeg, Friel’s favorite but fictitious setting in County Donegal of the north-western Ireland, Dancing at Lughnasa portrays the political, economic and socio-cultural predicaments of five sisters, further uncovering and destabilizing the normative imaginary of Irish women, home and nation-building in the 1930s. The Loves of Cass McGuire delineates the return of an Irish diasporic woman, Cass, from New York, and her incompatibility with the Irish middle-class home, represented by her brother Harry and his household in the 1960s. Many of Friel’s plays are primarily set within the domestic places of home, including kitchen, living room, breakfast room, study, garden, and so forth in plays such as Philadelphia, Here I Come! (1964), The Loves of Cass McGuire (1966), Living Quarters (1977), Aristocrats (1979), Translations (1980), Dancing at Lughnasa (1990), Give Me Your Answer, Do! (1997) and The Home Place (2005). However, the home delineated by Friel is far from a private, intimate place for rest and recuperation; rather, it is always a problematic and contested place for the characters, who, either live in it or only come to visit, have to struggle with the normative social roles and ideologies embodied in the home of the past or the present. In other words, home depicted by Friel in his plays is never merely a setting or background in which the actions of the plays take place; instead, Friel’s plays implicitly reveal that home is not only a material house but also a social sphere constituted by multifarious, and even contradictory, social processes and relations within specifically historical and geographical contexts. More often than not, the homes in Friel’s plays are either broken or on the verge of breakdown, for they are always already permeated by the political, economic, and socio-cultural transformations beyond the scale of home, despite the desperate endeavors by some characters to create or maintain a bounded, stable home. In this thesis I will argue that The Loves of Cass McGuire and Dancing at Lughnasa represent the gendered politics of home in the newly established Ireland after political de-colonization. Moreover, they both stage the contested struggles with the normative gendered mechanism imposed on Irish women’s mobility, identity, gender and sexuality within the scale of home. The social imaginary of an Irish homely home, with its material embodiments respectively in the 1930s and 1960s, is mutually constituted with the gendered identities and relations of the household. Home in both plays means differently for different characters either within the scale of home or in the process of diaspora. Home is a site of feminized domesticity, national order, Catholic virtue and Gaelic traditions, but it is also a conflicting site of power struggles and identity contestation, especially for certain defiant women characters. On the other hand, for those eagerly to sustain a homely home in the normative vision, they also suffer the unhomely, or uncanny, sentiment, as they are compelled to recognize the recurrence of the once familiar but concealed existences and facts, embodied by certain household members, in their daily life. Furthermore, they are also pressed to confront the reality that their supposedly private home is always an open, public place perpetually reconfigured by myriad social processes and relations beyond the scale of home. In the process of representing the domestic sphere of home in both plays, Friel not only delineates the various aspects of home constituted by diverse structural forces in different contexts, but also addresses to the conflictory and fluid meanings and feelings of home for varied subjects in their individual struggles to create a place that can be called home for themselves; namely, a sense of belongingness to a certain place. Accordingly, the home depicted in Friel’s plays is always an open, intersecting sphere constituted by perpetual processes of flux of socio-spatial dynamics at multiple scales.
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Howard, Ashley. "Florists and feasts: a critical digital edition of Ralph Knevet's Rhodon and Iris." Thesis, 2020. http://hdl.handle.net/1828/12115.

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One spring afternoon in 1631, the Norwich Society of Florists held a feast to celebrate and display its exquisite flowers. The celebration included an entertainment written just for the occasion—Ralph Knevet's quirky play about a war among flowers. Early modern florists were not the sort of people who sold cut flowers in shops; rather, they were experts in floriculture who applied this knowledge to cultivate new flowers. Norwich was already renowned for its gardens, but flowers soon became even more significant. Rhodon and Iris was performed just before tulipomania, a frenzy of tulip cultivation lasting from c.1634 – 1637. During this period, florists grew elaborate multi-coloured flower bulbs that sold for extremely high prices. In other words, the florists' feast and Knevet's play emerged when flowers were important to the economy and identity of Norwich. My thesis presents an open-access, digital critical edition of Rhodon and Iris encoded in TEI-P5. This edition offers an old-spelling transcription of the 1631 playbook, a modernized text with annotations, and a critical introduction. Responding to the need for more editions of non-canonical early modern plays, my research widens the otherwise Shakespeare-centric canon and helps make more early modern drama accessible to student readers. Rhodon and Iris also merits critical attention on its own grounds: an example of Caroline occasional drama, the play experiments with convention and offers a rare glimpse into the Society of Florists. My thesis approaches the play with special interest in editorial praxis, ecotheory, and the history of floriculture. The florists' feast delighted audiences and participated in a tradition of floral celebrations—one reaching, at least, from the ancient Roman ludi Florales to the modern Netflix series The Big Flower Fight.
Graduate
2021-06-26
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Books on the topic "Irish playwrights"

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The Methuen drama guide to contemporary Irish playwrights. London: Methuen Drama, 2010.

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Bernice, Schrank, and Demastes William W, eds. Irish playwrights, 1880-1995: A research and production sourcebook. Westport, Conn: Greenwood Press, 1997.

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Kosok, Heinz. Plays and playwrights from Ireland in international perspective. Trier: WVT WissenschaftlicherVerlag Trier, 1995.

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Irish women playwrights, 1900-1939: Gender and violence on stage. New York: Peter Lang, 2010.

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O'Farrell, Ciara A. A playwrights journey: A critical biography of louis D'Alton (1900-1951). Dublin: University College Dublin, 1998.

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1916-1965, Thompson Sam, Parker Stewart 1941-1998, Mitchell Gary 1965-, and Jones Marie 1951-, eds. The lost tribe in the mirror: Four playwrights of Northern Ireland. Belfast: Lagan Press, 2009.

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Johnston, Philip. The lost tribe in the mirror: Four playwrights of Northern Ireland. Belfast: Lagan Press, 2009.

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1964-, Jordan Eamonn, ed. The drama of war in the theatre of Anne Devlin, Marie Jones, and Christina Reid: Three Irish playwrights. Lewiston: Edwin Mellen Press, 2010.

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Liddy, Brenda Josephine. The drama of war in the theatre of Anne Devlin, Marie Jones, and Christina Reid, three Irish playwrights. Lewiston, N.Y: Edwin Mellen Press, 2010.

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Slevin, Ailbhe. Deirdre and the dramatists: An exploration of the legend of Deirdre and its treatment by three Irish playwrights. Dublin: University College Dublin, Graduate School of Business, 1993.

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Book chapters on the topic "Irish playwrights"

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Burke, Helen. "Country Matters: Irish ‘Waggery’ and the Irish and British Theatrical Traditions." In Players, Playwrights, Playhouses, 213–28. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230287198_10.

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Barranger, Milly S. "Irish Fictions." In Audrey Wood and the Playwrights, 129–40. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137270603_11.

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Phelan, Mark. "Beyond the Pale: Neglected Northern Irish Women Playwrights, Alice Milligan, Helen Waddell and Patricia O’Connor." In Women in Irish Drama, 109–29. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230801455_7.

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Watt, Stephen. "Sam Shepard, Irish Playwright." In Irish Theatre in Transition, 241–56. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137450692_17.

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Gould, Geoff. "Death of a Playwright." In Perspectives on Contemporary Irish Theatre, 115–22. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-59710-2_8.

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Saddlemyer, Ann. "John Millington Synge - Playwright and Poet." In A Companion to Irish Literature, 83–97. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444328066.ch34.

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Grogan, Erin. "‘We Belong to the World’: Christine Longford’s War Plays During Irish Neutrality." In Cultural Convergence, 217–35. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-57562-5_9.

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Abstract Regrettably, Christine Longford is at present remembered mostly for her marriage to Lord Edward and her administrative work at the Gate Theatre. However, she was also a successful and prolific playwright. This chapter focuses on three history plays written during World War II: Lord Edward (1941), The United Brothers (1942) and Patrick Sarsfield (1943). In these works, Longford used the stage to voice strong critique of the increased state control and censorship practices during ‘the Emergency’ in Ireland. Through the female characters, Longford comments, in particular, on the static roles Irish women had while women around the world found new opportunity.
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"Contemporary Women Playwrights." In The Field Day Anthology of Irish Writing, Volume V, 1234–89. Cork University Press, 2002. http://dx.doi.org/10.2307/j.ctv1fkgbfc.41.

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Clare, David, Fiona McDonagh, and Justine Nakase. "Introduction." In The Golden Thread, 1–12. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800859470.003.0001.

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This introductory chapters examines the key contexts and themes of contemporary Irish women’s playwrighting. We discuss the 1992 “There Are No Irish Women Playwrights!” festival and the 2016 #WakingTheFeminists campaign as moments of resistance that bookend the chapters in this collection. We highlight the academic and artistic interventions of this period that worked to reclaim Irish women’s writing, and the increasingly intersectional approaches of both Irish women playwrights and the chapters in this volume.
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Leeney, Cathy. "Ireland’s ‘exiled’ women playwrights: Teresa Deevy and Marina Carr." In The Cambridge Companion to Twentieth-Century Irish Drama, 150–63. Cambridge University Press, 2004. http://dx.doi.org/10.1017/ccol0521804000.011.

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