Journal articles: '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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Alatawi, Maha. "When Narrative Becomes Theatrical." Harold Pinter Review 5, no. 1 (May 1, 2021): 107–20. http://dx.doi.org/10.5325/haropintrevi.5.2021.0107.

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ABSTRACT Storytelling is an integral component of Irish tradition, folklore, and culture. Ireland's rich narrative tradition can be traced back to the early oral act of storytelling, undertaken by the seanchaí (storyteller or historian). Despite the wide spectrum of studies and broadly ranging arguments on storytelling in general and other specific aspects, in Irish drama narrative and the monologue, as well as narrative levels and types of narrators, have never been analyzed. In narratological terms Irish drama is rich with various degrees of diegetic narrativity employed differently by its various playwrights. This article looks more closely into a subject that until now has not received attention in the context of Irish theatre. In Irish theatre, in which language, narrative, and storytelling are recurrent topics, it is crucial that we understand how narrative is more complicated than the simple telling of a story and that it possesses techniques and levels that are worth reflecting on for their ability to change nuance and the experience of the audience.

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CAULFIELD, MARY P. "Inseparable and No Longer Subsequent: The Relocation and Representation of Women in Irish Theatre Practices." Theatre Research International 36, no. 3 (August 30, 2011): 276–77. http://dx.doi.org/10.1017/s0307883311000514.

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Women as playwrights, directors, designers and actors have played an indisputably integral part in cultivating the theatrical landscapes of Ireland, but their work, however, has largely been overlooked. That said, this is not a new lament: the last twenty years of Irish theatre scholarship have sought to redress this gender imbalance by looking to women's involvement in the ‘imagining’ of the Irish nation. Colm Tóibín's Lady Gregory's Toothbrush (Lilliput Press, 2002) famously confirmed Augusta Gregory's co-authorship (with W. B. Yeats) of Kathleen ni Houlihan (1902). C. L. Innes's widely known Women and Nation in Irish Literature and Society, 1880–1935 (The University of Georgia Press, 1993), shed light on the ideologies behind the iconography of Mother Ireland, and Mary Trotter's Ireland's National Theaters: Political Performance and the Origins of the Irish Dramatic Movement (Syracuse University Press, 2001) revealed the impact of Maud Gonne and the all-women society the Inghinidhe na hÉireann (Daughters of Erin) on the development of the Irish National Theatre Society.

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Khalil, Rania M. R. "Redefining Irishness: Fragmentation or intercultural exchange." Journal of Language and Cultural Education 3, no. 3 (September 1, 2015): 104–11. http://dx.doi.org/10.1515/jolace-2015-0024.

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Abstract The traditional definition of Irishness has been overwritten by internationalization, cultural and political discourses. Globalisation today sets the ground for the redefinition of a “new Ireland” altering the ethnocultural base to the definitions of Irish national identity. Recent cultural criticism on modern Irish studies have described the Irish nation as undergoing moments of crisis and instability within a global context. This paper explores and analyzes the process by which literary dramatic works dealing with Irish national distinctiveness have been put subject to being written and re-written as the Irish nation passes through periods of instabilities and problematisations. Ireland has been affected by conflicting narratives and needed to move “towards a new configuration of identities” (Kearney, 1997, p. 15). Edward W. Said comments on this fracturing of identity as “human reality is constantly being made and unmade” (1979, p. 33). The attempt Irish playwrights have made to address factors affecting Irishness and the violent assertion of national identity addressed in this paper, are considered within a post-nationalist and post-colonial context of dramatic works.

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14

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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15

Ruane, Aileen R. "Language, translation, and the Irish Theatre Diaspora in Quebec." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 73, no. 2 (May 25, 2020): 63–83. http://dx.doi.org/10.5007/2175-8026.2020v73n2p63.

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This article argues for the inclusion of contemporary Québécois translations of twentieth-century Irish plays as part of the Irish theatrical diaspora. The presence of an Irish diaspora in North America was mainly the result of massive waves of immigration, in large part due to the Great Famine, peaking during the mid-nineteenth century before gradually abating. This diaspora in Quebec has resisted full linguistic assimilation, yet was also integrated into many aspects of its culture, a fact that was facilitated by similar political, religious, and even linguistic parallels and elements. Interest in Irish culture, especially in its theatrical output, remains high, with many theatre companies in the province commissioning seasons based on Celtic Tiger-era dramas, translated by Québécois playwrights who also happen to be translators. In tracing and analysing the reason for this interest, despite diminished recent immigration, this article provides the basis for continued research into the performative force of proactive translations across varying diasporic traditions.

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SINGLETON, BRIAN. "Strangers in the house: reconfiguring the borders of national and cultural identities in contemporary Irish theatre." European Review 9, no. 3 (July 2001): 293–303. http://dx.doi.org/10.1017/s106279870100028x.

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The Irish literary revival at the beginning of the last century established the concept of ‘house’ as a symbol of ‘nation’ in dramatic writing. Strangers to the house thus took on the mantle of imperialist forces whose colonial project, practices and values had to be resisted and expelled. The allegorical situations of houses and strangers in theatre foreshadowed revolution and eventual independence for the country decades later. Contemporary Irish playwrights continue to use the house/stranger, familiar/foreign dichotomies as templates for their exploration of the current state of the ‘nation’, but they are also beginning to explore the idea that ‘strangeness’ might be a condition that should be embraced to ensure the future health of that nation.

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Worth, Katharine. "Ibsen and the Irish Theatre." Theatre Research International 15, no. 1 (1990): 18–28. http://dx.doi.org/10.1017/s0307883300009494.

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The Irish Literary Theatre, from which a new Irish theatre was to develop, came to birth at the very point when Ibsen was about to depart from the European theatrical scene. His last play, When We Dead Awaken, appeared in 1899, the year in which Yeats's The Countess Cathleen and Edward Martyn's The Heather Field were produced in Dublin. They were the first fruits of the resolve taken by the two playwrights, with Lady Gregory and George Moore, to ‘build up a Celtic and Irish school of dramatic literature’ and they offered decidedly different foretastes of what that ‘school’ might bring forth. Yeats declared himself an adherent of a poetic theatre that would use fantasy, vision and dream without regard for the limits set by the realistic convention. Martyn, on the other hand, was clearly following Ibsen in his careful observance of day-to-day probability. The central symbol of his play, the heather field, represents an obscure psychological process which might have received more ‘inward’ treatment. But instead it is fitted into a pattern of social activities in something like the way of the prosaically functional but symbolic orphanage in Ghosts.

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Mhuircheartaigh, Éadaoin Ní. "Philip O'Leary, An Underground Theatre: Major Playwrights in the Irish Language, 1930–80." Irish University Review 50, no. 1 (May 2020): 246–48. http://dx.doi.org/10.3366/iur.2020.0457.

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Schlacks, Deborah Davis. "F. Scott Fitzgerald, Trickster: Images of Irishness in Edmund Wilson's Bookman Essay." F. Scott Fitzgerald Review 14, no. 1 (November 1, 2016): 159–80. http://dx.doi.org/10.5325/fscotfitzrevi.14.1.159.

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Abstract Edmund Wilson's 1922 essay “F. Scott Fitzgerald,” which appeared in The Bookman magazine, contains ethnic stereotypes of the Irish-American F. Scott Fitzgerald. Wilson's piece is important as an early critical assessment of Fitzgerald as an author; it helped establish Fitzgerald's reputation. This article explores Wilson's essay in order to show the nature and origin of these stereotypes. In so doing, it examines allusions in Wilson's essay to characters and situations in the plays of Irish playwrights George Bernard Shaw and J. M. Synge, to the original Playboy magazine, and to the harlequinade. It also examines the ways in which The Bookman itself was part of the racial discourse of the time. Wilson was to revise his essay in 1924 and again in 1952, but he did not remove the stereotypes—a significant fact in itself.

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Ojrzyńska, Katarzyna. "The Individualising and Subversive Role of the Radio in Selected Contemporary Irish Poems and Plays." Tekstualia 1, no. 32 (April 1, 2013): 113–30. http://dx.doi.org/10.5604/01.3001.0013.4645.

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The article investigates the depictions of and allusions to the radio in selected works of contemporary Irish playwrights and poets. In particular, I focus on Brian Friel’s Dancing at Lughnasa, Medbh McGuckian’s Marconi’s Cottage and Bernard Farrell’s Then Moses Met Marconi. Examined through the prism of Seamus Heaney’s commentary on the role of the medium in Ireland made in his Nobel Prize lecture, these works present the radio as an intellectually stimulating agent. It serves as an element subversive towards the dominant ideologies and beliefs, which liberates the Irish from their provincial restrictive reality and offers them access to alternative social, moral and aesthetic values. I argue that, opposing the national policies, the radio in the discussed poems and dramas serves not so much as a unifi er but as an individualising factor, inspiring creativity and change.

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Jassim, Jinan Waheed. "Medea Revisited: Marina Carr's By the Bog of Cats… and the Modern Defiant Mother." لارك 3, no. 34 (July 16, 2019): 447–57. http://dx.doi.org/10.31185/lark.vol3.iss34.1103.

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Abstract;Marina Carr, one of the prominent Irish feminist playwrights, deviates from the mainstream patriarchal portrayal of women in her modern plays. She moves away from the stereotypical image of Irish mother as an emblem of the nation and the land, hence, seen as a selfless, loving, sacrificing woman who identifies herself with the motherhood. Instead Carr introduces broken, maltreated, and defiant women to the modern Irish stage. Her adaptation of the myth of Medea for her play By the Bog of Cats…is considered as a challenge to the classical Greek and Irish drama. Both Medea and Hester Swane are outsiders, betrayed by husbands, outcast from their homeland and community. Their search for identity and independence lead them to commit unspeakable actions. Yet, while Medea was driven by her desire to revenge on a betraying husband, Hester reacted to ongoing fear of abandonment and loss. This paper highlights Carr's talent in portraying modern ordinary mothers who defy the male-dominated society and seek a social status in her own right. Mothers who show an untraditional love for their children; a mother who are ready to sacrifice herself for the welfare of her daughter, saving her from a bleak future with a selfish father, dysfunctional grandmother, and immature step mother. Thus, Hester Swane represents new unconventional Irish mother who is willing to defy the norms to prove herself.

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Townsend, Sarah L. "Irish Drama and the Other Revolutions: Playwrights, Sexual Politics and the International Left, 1892–1964." TDR/The Drama Review 62, no. 4 (December 2018): 171–73. http://dx.doi.org/10.1162/dram_a_00806.

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Russell, Richard. "Talking with Ghosts of Irish Playwrights Past: Marina Carr's By the Bog of Cats ..." Comparative Drama 40, no. 2 (2006): 149–68. http://dx.doi.org/10.1353/cdr.2006.0008.

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Gaviña-Costero, María. "Brian Friel in Spain: An Off-Centre Love Story." Estudios Irlandeses, no. 16 (March 17, 2021): 110–24. http://dx.doi.org/10.24162/ei2021-10074.

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Spanish theatres are not prolific in the staging of Irish playwrights. However, the Northern Irish writer Brian Friel (1929-2015) has been a curious exception, his plays having been performed in different cities in Spain since William Layton produced Amantes: vencedores y vencidos (Lovers: Winners and Losers) in 1972. The origin of Friel’s popularity in this country may be attributed to what many theatre directors and audiences considered to be a parallel political situation between post-colonial Ireland and the historical peripheral communities with a language other than Spanish: Catalonia, the Basque Country and Galicia; the fact is that the number of Catalan directors who have staged works by Friel exceeds that of any other territory in Spain. However, despite the political identification that can be behind the success of a play like Translations (1980), the staging of others with a subtler political overtone, such as Lovers (1967), Dancing at Lughnasa (1990), Molly Sweeney (1994), Faith Healer (1979) and Afterplay (2001), should prompt us to find the reason for this imbalance of representation elsewhere. By analysing the production of the plays, both through the study of their programmes and interviews with their protagonists, and by scrutinising their reception, I have attempted to discern some common factors to account for the selection of Friel’s dramatic texts.

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Gomes, Daniel. "Susan Cannon Harris, Irish Drama and the Other Revolutions: Playwrights, Sexual Politics and the International Left, 1892–1964." Modernist Cultures 15, no. 2 (May 2020): 257–61. http://dx.doi.org/10.3366/mod.2020.0292.

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McNulty, Eugene. "Susan Cannon Harris, Irish Drama and the Other Revolutions: Playwrights, Sexual Politics and the International Left, 1892–1964." Irish University Review 48, no. 2 (November 2018): 390–93. http://dx.doi.org/10.3366/iur.2018.0365.

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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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BAŞTAN, Ajda. "FATAL CONFLICT REFLECTIONS IN MARTIN MCDONAGH'S THE BEAUTY QUEEN OF LEENANE." IEDSR Association 6, no. 15 (September 20, 2021): 198–208. http://dx.doi.org/10.46872/pj.341.

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This study focuses on the reasons of mother-daughter conflicts in Martin McDonagh's The Beauty Queen of Leenane. As the twenty-first century was approaching, a new movement of young playwrights emerged on the UK theatre scene. One of the most controversial and beloved representatives of this wave is Martin McDonagh. The author was born and raised in London as the son of an Irish family. In 1996, McDonagh's first play The Beauty Queen of Leenane was staged in Ireland, and then found its place in London and New York, fascinating much attention. Also staged in Turkey, this play of four characters has become the starting point of McDonagh's extraordinary theatrical career. In the play, Maureen, a forty-year-old single woman, still lives with her domineering mother Mag. For years, Maureen has spent her time by cooking, feeding the chickens, and shopping while taking care of her ailing and grumpy mother on her own. In The Beauty Queen of Leenane Maureen and Mag live an isolated life due to their physical location and relationships with each other. Maureen dreams of escaping her mother's house and her town called Leenane. She blames her mother and sisters for her miserable situation. The harsh, rude and hurtful conversations between mother and daughter always continue with conflict. As the play progresses it becomes obvious that this relationship between the two characters is completely disintegrated.

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Graham-Jones, Jean. "Latin American(ist) Theatre History: Bridging the Divides." Theatre Survey 47, no. 2 (September 12, 2006): 209–15. http://dx.doi.org/10.1017/s0040557406000172.

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In October 2004, I edited Theatre Journal's special issue on Latin American theatre. In addition to five essays on subjects ranging from sixteenth-century Amerindian performance to a twenty-first-century Mexican adaptation of an Irish play, that issue included a forum on the state of Latin American theatre and performance studies in the United States today. Even though the thirteen respondents resided, independently or as affiliates, in different disciplinary homes (theatre, performance, languages, and literature) and took multiple points of departure, a common thread ran throughout their comments: the need for the U.S. academy to study and teach the diversity that is known as Latin America.1 Tamara Underiner succinctly notes that “Latin America has never answered easily as an object of inquiry for theatre studies.”2 Indeed, studying Latin American theatre and performance poses very specific challenges: the region encompasses some twenty countries whose national borders obscure larger geographical, cultural, religious, political, and socioeconomic networks; a multiplicity of languages—European, dialectal, and indigenous to the hemisphere—are still spoken, written, and performed; and numerous intersecting histories extend back far beyond the five hundred years since the Europeans arrived and precipitated what today we euphemistically refer to as “contact.” Latin America does not terminate at the U.S.–Mexican border; thus although I'm cognizant of the attendant complications when including the U.S. latino/a communities in a discussion of Latin American theatre, the cultural network is such that I consider any arbitrary separation counter to the purposes of this reflection. Otherwise, how can we take into account the larger networks navigated by such U.S.-based playwrights as Guillermo Reyes (born in Chile but raised in the United States and the author of plays about Chilean history as well as specifically U.S. identities) or Ariel Dorfman (born in Argentina, raised in New York City and Santiago, Chile, now a professor at Duke, and author of English-language plays whose subject matter is frequently authoritarian Latin America)?

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Moura, Fernanda Korovsky. "Dion Boucicault’s Robert Emmet?: the question of authorship and the season premiere at the McVicker's Theatre, Chicago, on November 5, 1884." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 73, no. 2 (May 25, 2020): 127–36. http://dx.doi.org/10.5007/2175-8026.2020v73n2p127.

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The Irish playwright Dion Boucicault (1820-1890) spent most of his career in the United States, where he established himself, adapting crucial moments of Irish history to the stage. Robert Emmet (1884), a play produced at the end of his career, arouses questioning surrounding its authorship. The dramatic text was arguably written by the playwright Frank Marshall (1840-1889) at the request of the actor Henry Irving (1838-1905). This paper explores the question of Robert Emmet’s authorship and investigates the reception of the production in its unsuccessful opening season at the McVicker’s Theatre in Chicago in November, 1884, and Boucicault’s part in it.

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McCarthy, Kate, and Úna Kealy. "Writing from the Margins: Re-framing Teresa Deevy’s Archive and her Correspondence with James Cheasty c.1952–1962." Irish University Review 52, no. 2 (November 2022): 322–40. http://dx.doi.org/10.3366/iur.2022.0570.

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This essay explores a unique set of documents, comprising letters and postcards, sent by Teresa Deevy to her friend and fellow Waterford playwright, James Cheasty. To date, Deevy’s correspondence has not been considered separately from her dramatic texts, nor has Cheasty’s work received scholarly attention. Taking a feminist theatre historiographic approach, the essay theorizes the challenges of working with women’s archives, Deevy’s in particular, and conceptualizes the Deevy-Cheasty correspondence as high status research documents that raise Deevy’s archival profile. The thematic analysis of the material focuses on Deevy‘s role as Cheasty’s mentor and illuminates her engagement with Irish theatre practice of the 1950s and 60s. The essay reveals previously unknown aspects of her personal and professional life and contributes new insights relevant to scholars, practitioners, archivists, and students that redirect prevailing narratives concerning Deevy’s ambitions as a playwright and her involvement with Irish theatre practice post 1940.

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Mills, Lia. "In Full Voice: Celia de Fréine in Conversation with Lia Mills." Irish University Review 48, no. 2 (November 2018): 169–82. http://dx.doi.org/10.3366/iur.2018.0347.

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Celia de Fréine is a multi-award winning poet, playwright, screenwriter and librettist, who also writes essays and fiction in both English and Irish. She has published eight collections of poetry, including three dual-language editions with Arlen House. Four of her plays have been awarded Duais an Oireachtais for best full-length play, and her biography (in Irish) of Louise Gavan Duffy – Ceannródaí – is due out later this year. This conversation with writer Lia Mills explores the innovative nature of de Fréine's work, in language, form and subject matter. It discusses key poetry volumes, such as her response to the Hepatitis C scandal – Fiacha Fola | Blood Debts – and A Lesson in Can't, which draws on the lives of Irish Travellers. It also considers her commitment to writing for theatre in both Irish and English, and her recent prose. The dialogue sheds light on the complex relationship between Irish and English in de Fréine's work, and her evolving creative practice.

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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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Rees, Catherine. "The Good, the Bad, and the Ugly: the Politics of Morality in Martin McDonagh's The Lieutenant of Inishmore." New Theatre Quarterly 21, no. 1 (January 26, 2005): 28–33. http://dx.doi.org/10.1017/s0266464x04000314.

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The recent plays of Martin McDonagh have fascinated and repelled critics for nearly a decade. His idiosyncratic blend of rural Irish mythology and ‘in-yer-face’ aggression has both caused consternation and won high praise, but the motivations and inspirations of McDonagh's work have not been widely discussed. Here, Catherine Rees addresses some of the common critical assaults on one of his most contentious plays, The Lieutenant of Inishmore (2001), and seeks to rescue the playwright from misunderstanding and heavy-handed critical treatment. She also aims to clarify some of the issues surrounding this politically charged and controversial work, and discusses it within the wider context of British and Irish drama. An earlier version of this article was given as a paper at the ‘Contemporary Irish Literature: Diverse Voices’ conference at the University of Central Lancaster in April 2003. Rees has presented on various aspects of McDonagh's work at a joint American Conference for Irish Studies and British Association of Irish Studies conference, and is currently working on a PhD about his plays at the University of Wales, Aberystwyth.

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Hughes, Eamcnn. "‘To Define Your Dissent’: The Plays and Polemics of the Field Day Theatre Company." Theatre Research International 15, no. 1 (1990): 67–77. http://dx.doi.org/10.1017/s0307883300009536.

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The Field Day Theatre Company was founded in 1980 by Stephen Rea, the actor, and Brian Friel, the playwright, at the former's suggestion. The combination of a playwright and an actor in the founding of a theatre in response to a crisis which is both cultural and political recalls the Irish National Theatre Society and the founders of Field Day were conscious that such parallels would be drawn. For both Friel and Rea, the only available models were the Irish Literary Theatre and the Ulster Literary Theatre. The differences between Field Day and other such ventures are however as instructive as the parallels. The Irish National Theatre Society and the Abbey were always Yeats's project; his plays, his theories on drama and speech, and his cultural politics were the informing elements in the development of the theatre. Field Day's founders, however, quickly took on four other fellow-directors – Seamus Deane, Seamus Heaney, David Hammond and Tom Paulin – for just as the Abbey had had Beltaine, Samhain, and The Arrow so Field Day has had its pamphlets and other non-theatrical projects, although in the case of Field Day, these are once again open to contributors from outside the company. The purpose of the pamphlets has been to re-examine the various pieties of Irish cultural life in this past century. In its short history Field Day has already attracted widespread attention, but the time seems right for a stock-taking since by the end of 1988 the company will have reached a plateau of sorts in its development. Since 1980 it has produced eight plays, twelve pamphlets, and one volume of poetry, not to mention the work its directors have produced outside the confines of the company; this work places Field Day at the centre of Irish cultural debate. 1988 saw the production of a new play by Friel, Making History – his first for Field Day since The Communication Cord (1982) – the publication of another set of pamphlets, which for the first time were by non-Irish critics – Terry Eagleton, Frederic Jameson, and Edward Said – and preparations for its anthology of Irish writing. The completion of these three projects should consolidate the company's position.

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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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Yakunin, A. S. "STYLIZATION METHOD OF DINNSHEANCHAS IN THE PLAY “THE MAI” OF MARINA CARR." Bulletin of Udmurt University. Series History and Philology 29, no. 3 (June 25, 2019): 524–28. http://dx.doi.org/10.35634/2412-9534-2019-29-3-524-528.

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The article discusses the method of dinnsheanchas and its stylization, which is characteristic of modern Irish dramaturgy, by means of which the playwright transforms objects of artistic space and endows characters with mental images. The embodiment of dinnsheanchas in the play “The Mai” is analyzed, and its role in uncovering the mythological potential in the works of Marina Carr is assessed.

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McIvor, Charlotte. "‘Albert Nobbs’, Ladies and Gentlemen, and Quare Irish Female Erotohistories." Irish University Review 43, no. 1 (May 2013): 86–101. http://dx.doi.org/10.3366/iur.2013.0057.

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This essay models an approach to quare Irish female erotohistoriography through analyzing George Moore's 1918 novella ‘Albert Nobbs’ (later adapted as The Singular Life of Albert Nobbs by French feminist playwright Simone Benussa in 1977, and then as the 2011 film, Albert Nobbs, adapted by and starring Glenn Close) and Emma Donoghue's 1996 stage play, Ladies and Gentlemen. Both Irish-authored works concern the lives of mid- to late nineteenth-century individuals born as biologically female who live or perform as men. I focus on representations of the erotic at the juncture of love and marriage in these works in a bid to recover quare Irish female ‘erotohistories.’ This approach follows Elizabeth Freeman's use of ‘erotohistoriography’ and Noreen Giffney's embrace of ‘quare theory’ as an Irish practice of queer theory that insists on the intersection between queer, lesbian, and feminist work. The desires detailed in these works call into question historical understandings of Irish female identity circumscribed by heteronormative frameworks. In turn, ‘Albert Nobbs’ and Ladies and Gentlemen ultimately reveal how these same frameworks must conceal the quare as constitutive of their own existence.

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Lawley, Paul. "Murphy's Beckeytt: Legacy and Agon." Samuel Beckett Today / Aujourd'hui 23, no. 1 (August 1, 2012): 215–42. http://dx.doi.org/10.1163/18757405-023001015.

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Through consideration of a single play, this study examines how an Irish playwright of a later generation engages with the legacy of Beckett. Tom Murphy's 1985 play is shown to adopt certain characteristically Beckettian images and structures and to situate them within a dramatic action which involves agon at several levels. The younger writer's engagement with the older emerges through and analysis of Murphy's agonistic reading of these Beckettian figures.

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Coates, Brian. ""I'll Go On" – Terry Eagleton, Writer." Theory Now. Journal of Literature, Critique, and Thought 5, no. 2 (July 29, 2022): 69–81. http://dx.doi.org/10.30827/tn.v5i2.25397.

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This essay seeks to link Terry Eagleton’s work as a novelist and playwright with his work over many years, in theory, philosophy, and literary criticism. The several pieces discussed here shimmer with raw energy, innovative technique, and a deep grasp of the tangled histories of England and Ireland. The ability to work in both critical and creative modes is rare and the constantly shifting boundaries of the work considered here indicate Eagleton’s desire to carve out a genre that incorporates an inclusive model of expression. The issue of Irish history and politics is an abiding concern for Eagleton; the painful and violent struggle for Irish independence is a constant theme in his work and makes a connection with his own Irish background. Ireland is also a shelter to Wittgenstein in Saints and Scholars, a work that shows Eagleton as also able to cut philosophy and narrative with a ready and effective humour.

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De Ornellas, Kevin. "Ibsen's seminal influence on an Irish playwright: an interview with Frank McGuinness." Irish Studies Review 20, no. 1 (February 2012): 77–84. http://dx.doi.org/10.1080/09670882.2012.655940.

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Morozova, Svetlana N., and Dmitriy N. Zhatkin. "Creative work of Edmund John Millington Synge in literary and critical perception of Korney Chukovsky." Vestnik of Kostroma State University, no. 3 (2019): 101–6. http://dx.doi.org/10.34216/1998-0817-2019-25-3-101-106.

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The article considers the specifics of Korney Chukovsky’s perception of dramatic art of Edmund John Millington Synge (1871–1909), one of the greatest personalities of national revival of Ireland. Synge, who created his works in English, not only revived legends of his nation, but also expanded the idea of the Irish national originality, having offered his own vision of the image of an Irish of his time. Korney Chukovsky is the author of one of the first translations of Synge’s dramatic art into Russian (a comedy "The Playboy of the Western World") and of the introductory article to its publication in 1923. The article "Synge and His "Playboy"" reflects the Russian writer’s understanding of the moral and aesthetic questions of the play. According to Korney Chukovsky, tSynge's complex art method was formed under the influence of the ideas of revival of the national drama theatre. This direction in perception of Synge’s heritage was determinative in Russian literature and, in general, reflected the nature of the attitude of Russian cultural consciousness to the Irish playwright’s creative work.

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ARCHER, JEAN BARBARA, and GORDON LESLIE HERRIES DAVIES. "Inspiration from Nature and some plays written by John O'Keeffe (1747–1833)." Archives of Natural History 27, no. 1 (February 2000): 123–35. http://dx.doi.org/10.3366/anh.2000.27.1.123.

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The natural world inspires human minds into a multitude of varied forms of intellectual creativity. The outcome of that inspirational influence is works as different as Newton's Principia, the reclining forms of Henry Moore, and the five movements of Von Grofé's Grand Canyon suite. Among such creative minds, that of the playwright is seemingly less likely to be influenced by the observational realities of the non-human natural world than is that of the scientist, the sculptor, or the musician. The once popular Irish playwright John O'Keeffe (1747–1833) is nevertheless one writer for the theatre who did, upon several occasions, find his basic inspiration within the phenomena displayed by the natural world. Attention is drawn to three 'natural history' plays which certainly came from the pen of O'Keeffe, and there is mentioned a fourth play of similar genre which is probably to be attributed to the same author.

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Koustas, Jane. "Deirdre Kinahan’s Unmanageable Sisters: Michel Tremblay’s Belles-sœurs on the Irish Stage." Quebec Studies 72, no. 1 (December 1, 2021): 33–57. http://dx.doi.org/10.3828/qs.2021.16.

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In spring 2018, Deirdre Kinahan’s The Unmanageable Sisters, an adaptation of Michel Tremblay’s landmark Les belles-sœurs (1968), was performed in the Abbey Theatre. A “smash hit” (Abbey programme) with the Irish audience, it was restaged in summer 2019. The Dublin version by a young and accomplished Irish playwright stages the comparability of the language register and of the socioeconomic and cultural circumstances that inspired the original thus underlining the connection between the two theater communities. It also demonstrates theater’s role in voicing the language, lives, and daily traumas of impoverished, undereducated, and marginalized women. This study contends that Tremblay’s and Kinahan’s success is attributable to the dramaturges’ understanding, interpretation, and staging of the intersectionality of the issues addressed. Intersectionality focuses on the layering and interaction of multiple sources of power, oppression, and marginalization. Previous English translations did not capture the intersectionality central to the original.

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Smyth, Patricia. "The Popular Picturesque: Landscape in Boucicault's Irish Plays." New Theatre Quarterly 32, no. 4 (October 14, 2016): 347–62. http://dx.doi.org/10.1017/s0266464x16000427.

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The inspiration for Dion Boucicault's first Irish subject, The Colleen Bawn, in a set of pictur esque views of Ireland after the artist W. H. Bartlett is well documented, and Bartlett's iconography of wild scenery, moonlight, round towers, and ruined abbeys features strongly throughout the Irish plays. Although Bartlett's compositions were widely known in the nineteenth century, there has been little consideration of how they may have informed the audience's understanding of the plays. Rather, they are regarded as a set of clichéd, stereotyped images, which the playwright subverted through a process of ironic distancing and repurposing. In this article Patricia Smyth argues that, on the contrary, Boucicault made use of the mythical and supernatural associations of picturesque Ireland in order to convey a particular narrative of Irish history. Patricia Smyth is a Visiting Research Fellow at the University of Warwick. She has published articles and book chapters on French and British nineteenth-century art, visual culture and theatre. She is co-editor of Nineteenth-Century Theatre and Film, co-edited with Jim Davis a special issue dedicated to theatrical iconography (2012), and is currently completing a book on Paul Delaroche and theatre.

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Abdulhasan Ali, Basma, and Sabah Atallah Diyaiy. "Violence in Martin McDonagh's The Pillowman." Al-Adab Journal 2, no. 136 (March 15, 2021): 1–10. http://dx.doi.org/10.31973/aj.v2i136.1279.

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The 1990s have been of utmost importance for Ireland and the Irish as this decade is characterised by a great diversity of problems: economic problems, unemployment and migration which came as a result of these problems, racial harassment experienced abroad, psychological problems, the Troubles whose serious impact was felt not only in Northern Ireland but also in the Republic of Ireland, which emerged as a consequence of the conflict between the Catholics and the Protestants because of the political status of Northern Ireland and which began at the end of the 1960s and ended in 1998 with Belfast Agreement; self-centeredness emerging as a repercussion of the Celtic Tiger period which was witnessed between 1995 and 2000 and which means economic development in Ireland, and, lastly, the problem of violence. Martin McDonagh, an Anglo-Irish playwright represents these problems emphasising the problem of violence encountered in this decade in a satirical but grotesque way particularly in The Pillowman.

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Westgate. "“In Ireland He's Considered an Irish-American Playwright”: Eugene O'Neill, A Touch of the Poet, and the Irish Play." Eugene O'Neill Review 39, no. 1 (2018): 95. http://dx.doi.org/10.5325/eugeoneirevi.39.1.0095.

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Germoni, Karine. "Omniprésence De Samuel Beckett Dans L'œuvre de Raymond Cousse / Présence de Raymond Cousse Dans œeuvre de Samuel Beckett?" Samuel Beckett Today / Aujourd'hui 17, no. 1 (November 1, 2007): 482–99. http://dx.doi.org/10.1163/18757405-017001033.

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A novelist and playwright of little renown, Raymond Cousse is mostly known for his play His encounter with Beckett's work and then with Beckett himself was the electric shock that pushed this autodidact into writing. Our paper tends to a double aim : we shall fIrst examine how deeply Beckett has marked Cousse's work and existence, through the study of his writings – including non published documents such as abstracts from his diary, the correspondence between the two authors and several manuscripts by Cousse. We will then proceed with the following question: is the Irish writer's all-pervasive presence in Cousse's work reciprocated, in Samuel Beckett's writings, with echoes from Cousse's own novels and plays ?

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Zou, D. Z. "On Carr’s Eleven-Dimensional Dramaturgy." International Journal of Languages, Literature and Linguistics 7, no. 3 (September 2021): 144–48. http://dx.doi.org/10.18178/ijlll.2021.7.3.302.

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Contemporary Irish playwright Marina Carr integrates eleven-dimension theory into her post dramatic art creation, forming a unique eleven-dimensional dramaturgy. This unique eleven-dimensional dramaturgy runs through Carr's whole drama creation career, and has different focuses in different periods: in her early drama, Carr concentrated on the expression of the concept of “non-linear time”. In the mid-land drama, she focuses on the creation of “high dimensional space”, while in the later drama of death and fantasy, she focuses on the presentation of “multidimensional worlds”. Finally, with the connection of the eleven-dimensional dramaturgy, Carr created a “non-linear”, “high dimensional” and “multi-dimensional” dynamic post-dramatic theater, and conveyed the eleven-dimensional philosophy of life beyond time and space.

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Nunez, Domingos, and Peter James Harris. "Roger Casement in the twenty-first century: the public and private faces of a multi-media Irish hero." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 73, no. 2 (May 25, 2020): 17–35. http://dx.doi.org/10.5007/2175-8026.2020v73n2p17.

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Sir Roger Casement (1864-1916) was a diplomat in the British Colonial Service and an Irish nationalist who was hanged for high treason in London in 1916. This article offers a critical overview of the material that has been published about Casement's humanitarian work in the Congo and the Peruvian Amazon and his trial in London, including biographies and editions of his own journals, particularly the so-called Black Diaries, as well as the various dramatisations of this material for the stage and other media, concentrating on those produced in the twenty-first century. The second part of the article consists of the playwright’s account of the writing of As Duas Mortes de Roger Casement, which received its premiere in São Paulo in 2016, commenting on the play’s relationship to its sources and the decisions that were taken in the creative process.

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Journal articles on the topic 'Irish playwrights'

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