Relevant bibliographies by topics / Theaters, ireland, dublin

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Theaters, ireland, dublin'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 January 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Theaters, ireland, dublin.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Theaters, ireland, dublin"

1

Bogucki, Michael. "The Art of Making-Up: Ibsen, Ireland, and Metropolitan Performance." Modernist Cultures 5, no. 2 (October 2010): 291–314. http://dx.doi.org/10.3366/mod.2010.0107.

Full text
Abstract:
The economies of theatre and performance in Ireland in the 1890s depended on various intersections of cultural and nationalist politics, but they also depended on Ireland's position within the wider circulation of English, European, and U.S. touring companies. This essay traces Herbert Beerbohm Tree's production of Henrik Ibsen's An Enemy of the People from London to New York and Dublin. Tree's decision to stage the play is a key moment because it moves Ibsen's work out of small, independent theatres and into a major touring company's repertoire. At the same time, especially while on tour in Ireland and the U.S., Tree's performance techniques and business practices obscured almost all of the qualities in Ibsen's work that had made him so controversial and had inspired the independent theaters in the first place. Following Tree's production illuminates two important shaping conditions for theatrical writers and entrepreneurs at the turn of the century: the demands for “stage business” within a burgeoning London-based commercial touring circuit and the effects of the experience of empire on performances of “parochial” languages.
APA, Harvard, Vancouver, ISO, and other styles
2

Harris, Susan Cannon. "Clearing the Stage: Gender, Class, and the Freedom of the Scenes in Eighteenth-Century Dublin." PMLA/Publications of the Modern Language Association of America 119, no. 5 (October 2004): 1264–78. http://dx.doi.org/10.1632/s0030812900101737.

Full text
Abstract:
This essay investigates the conditions and consequences of Thomas Sheridan's attempt to bar spectators from behind the scenes at the Theatre-Royal in Dublin's Smock Alley. Sheridan succeeded in revoking the “freedom of the scenes”—a privilege by which aristocratic men were allowed to roam the green room, dressing rooms, and stage during the performance—because Dublin was the cultural and political center of a colonial society whose members were struggling for control over the spaces outside the theater. The reform provoked a conflict known as the Kelly riots, which began with a spectator's attempted rape of an actress in Sheridan's production of John Vanbrugh's Aesop. Contextualizing the Kelly riots in the political and cultural situation of eighteenth-century Ireland, this article illuminates the role that the theater plays in the construction of subjectivity and in the interrelation among gender, class, and national identities.
APA, Harvard, Vancouver, ISO, and other styles
3

MOLONY, MARTIN G. "‘Oh, This Is More of Stretch’s Show’: Randal Stretch and Puppet Theatre in Eighteenth-Century Ireland." Eighteenth-Century Ireland: Volume 37, Issue 1 37, no. 1 (September 1, 2022): 91–107. http://dx.doi.org/10.3828/eci.2022.6.

Full text
Abstract:
This article outlines the popularity - and financial success - of an eighteenth-century Dublin puppet theatre that threatened mainstream theatres of the time. Randall Stretch’s puppet theatre, in Dublin’s Capel Street, became the centrepiece for satirical and political commentary of the day. Stretch’s theatre caught the attention of Dean Swift and his circle and is commemorated in satirical verse of the period. For decades, Dubliners used the phrase ‘This is more of Stretch’s Show’ to refer to anything outlandish or incredible. The article underlines the power of the puppet theatre as a satirical device and the extent to which it can rival mainstream theatre.
APA, Harvard, Vancouver, ISO, and other styles
4

Wallace, Clare. "Commemoration, ambivalent attachments and catharsis: David Ireland’s Cyprus Avenue at the Abbey Theatre in 2016." Scene 8, no. 1-2 (December 1, 2020): 91–103. http://dx.doi.org/10.1386/scene_00025_1.

Full text
Abstract:
This article analyses David Ireland’s 2016 play, Cyprus Avenue, in which Eric, a middle-aged Ulster Unionist, becomes convinced that his infant granddaughter is Gerry Adams. Ireland is a Belfast-born actor and playwright whose works – Can’t Forget about You (2013) and Ulster American (2018) – have recently generated critical acclaim and debate. Cyprus Avenue, directed by Vicky Featherstone, opened in February at the Abbey Theatre Dublin as part of the theatre’s 1916 commemorative programme, before transferring to the Royal Court. With attention to the nuances of these production conditions, the ways in which Ireland’s play unravels a crisis of northern Irish identity in a post-Agreement context in relation to temporality and gender are explored. Particular attention is focused on how ontological crisis is presented through dislocated, non-linear experiences of time that are enacted within a scenographically crafted space. This crisis is at once personal and impersonal – a metaphor for a northern state of being – and is brutally distilled in acts of violence against women. I will argue that the ideological dimensions to the affective mechanisms of the play and its performance at the Abbey Theatre in 2016 and beyond are deeply ambivalent and deserve scrutiny.
APA, Harvard, Vancouver, ISO, and other styles
5

BURKE, HELEN. "Jacobin Revolutionary Theatre and the Early Circus: Astley's Dublin Amphitheatre in the 1790s." Theatre Research International 31, no. 1 (February 10, 2006): 1–16. http://dx.doi.org/10.1017/s0307883305001847.

Full text
Abstract:
This essay examines the politics of the disturbances and riots that rocked Philip Astley's Dublin Amphitheatre, the site of Ireland's first circus, during the 1790s. Astley received the first legal recognition for his circus from a colonial administration in Ireland because of the loyalism of his entertainments and, throughout the 1790s, his Dublin Amphitheatre worked to mobilize the Irish masses in the interest of the crown and the empire. But, as this essay shows, these loyalist entertainments were also repeatedly disrupted by the counter-theatre of the Jacobin-inspired group, the United Irishmen, who used this site to rally support not only for the Irish nationalist revolution but also for the broader democratic revolution then being staged all around the Atlantic rim.
APA, Harvard, Vancouver, ISO, and other styles
6

Wilmer, Steve. "Women' Theatre in Ireland." New Theatre Quarterly 7, no. 28 (November 1991): 353–60. http://dx.doi.org/10.1017/s0266464x00006059.

Full text
Abstract:
So close was the relationship between women and the Irish literary and theatrical renaissance that the severely diminished feminist role in contemporary Irish cultural and theatrical life contrasts all the more revealingly with the early achievements. In this article, which is an expanded version of a paper given at the 1990 conference of the International Federation for Theatre Research at Glasgow University, Steve Wilmer etches in the historical perspective, notably the significance of women's writing to the nationalist as well as the suffragist movement, and outlines the present situation, in which the solid advances being made by women directors and administrators are only slowly being reflected in an increase in women's theatre writing and support for feminist theatre groups, let alone the assumption of real theatrical power. Steve Wilmer teaches in the Samuel Beckett Centre at Trinity College Dublin, and is the author of several plays, including Scenes from Soweto.
APA, Harvard, Vancouver, ISO, and other styles
7

WALSH, FINTAN. "Cyberactivism and the Emergence of #TeamPanti." Theatre Research International 40, no. 1 (February 6, 2015): 104–7. http://dx.doi.org/10.1017/s0307883314000650.

Full text
Abstract:
On 1 February 2014, Ireland's best-known queer performer, drag artist Panti (Rory O'Neill), delivered a ten-minute speech on the main stage of the Abbey Theatre following a production of James Plunkett's play The Risen People (1958). The oration was the last instalment in a series of so-called ‘Noble Calls’ programmed by the national theatre, in which invited artists, activists and public intellectuals spoke after the production about an issue of pressing concern. Plunkett's drama explores the impact on a family of the 1913 Dublin Lockout, during which approximately 20,000 people took to the streets in an industrial dispute over working conditions. Marking the centenary of the event, the production and its Noble Calls commemorated the original incident, while also encouraging reflection on the state of contemporary Ireland, and the public's aspirations for a country deeply affected by recent social, cultural and economic upheavals.
APA, Harvard, Vancouver, ISO, and other styles
8

O'Gorman, Finian. "‘No comfort talking when there’s a man around’: Maura Laverty’s Tolka Row (1951) and a neglected tradition of popular drama at the Gate Theatre, Dublin." Review of Irish Studies in Europe 4, no. 1 (June 14, 2021): 66–81. http://dx.doi.org/10.32803/rise.v4i1.2628.

Full text
Abstract:
This essay presents a case for Maura Laverty’s play Tolka Row (1951) to be recognised as a highly-accomplished prototype of the soap opera in Ireland. It argues that Tolka Row is an important Irish iteration of a quintessentially modern form that swept across Europe and the rest of the world in tandem with advances in broadcasting in the twentieth century. The analysis focuses on the unique way in which the play portrays the lived experiences of working-class women through unadorned, everyday ‘talk’. The innovative approach to dialogue in Tolka Row situates the play as an important precursor to the development of the television serial in Ireland – not merely due to its popularity and working-class milieu, as has been acknowledged in the past, but due to its creative formal characteristics. This paper thus suggests a reassessment of the legacy of the Gate Theatre, which has to date been defined primarily in relation to its production of avant-garde plays. While the Gate has been widely acknowledged as a bastion of European modernism in Ireland, Tolka Row forms part of the theatre’s contribution to the development of a different kind of response to modernization, in the form of popular culture. By drawing on previously unexplored archival material which shows evidence of significant cuts to the original script, this paper suggests that the directors of Gate Theatre Productions – Hilton Edwards and Micheál mac Líammóir – either denied or disavowed the extent to which a more popular drama could impact Irish theatre and society. Keywords: Gate Theatre, Maura Laverty, Tolka Row, serial, soap, popular culture, consciousness raising.
APA, Harvard, Vancouver, ISO, and other styles
9

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.

Full text
Abstract:
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
APA, Harvard, Vancouver, ISO, and other styles
10

R. Walsh, Ian. "Commedia dell’arte and the Gate Theatre." Review of Irish Studies in Europe 4, no. 1 (June 14, 2021): 8–26. http://dx.doi.org/10.32803/rise.v4i1.2649.

Full text
Abstract:
This essay reveals the centrality of commedia dell’arte in defining the Gate’s theatrical style in the first four decades of its existence. In its theatricality, as well as its emphasis on the international and the queer, Hilton Edwards and Micheál mac Liammóir found the commedia dell’arte to be an ideal theatrical precedent for their own ambitions and practice. Drawing on materials in the Gate Theatre Digital Archive, NUI Galway, newspaper archives, research by Christopher FitzSimons, David Clare and Nicola Morris and the books of Edwards and mac Liammóir this article charts the origins of their engagement with and conception of the commedia dell’arte and its manifestation in their writings and theatre productions. Building on the work of Eibhear Walshe and Richard Pine on mac Liammóir’s adoption of masks of identity, it is also argues that both Edwards and mac Liammóir assumed the masks of Harlequin and Pierrot, in their writing and performing in order to reveal and shape their queer identities. This examination confirms how embedded European theatrical practice was in the stagecraft of one of Ireland’s premiere theatres and in so doing allows for networks of international artistic influence to be traced in the development of contemporary Irish performance. Keywords: Gate Theatre Dublin, Irish theatre, commedia dell’arte, queer, Hilton Edwards, Micheál mac Liammóir, modernism.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Theaters, ireland, dublin"

1

Harrower, Natalie Dawn. "The Performance of Critical History in Contemporary Irish Theatre and Film." Thesis, 2009. http://hdl.handle.net/1807/17769.

Full text
Abstract:
This dissertation examines theatre and film in Ireland between 1988 and 2005, focusing on the plays of Sebastian Barry and Marina Carr, as well as a select group of films from this period. Employing a method of analysis that couples close-readings with attention to socio-cultural context, aesthetic form, and issues of representation, the dissertation demonstrates how theatre and film work to complicate conventional Irish historical narratives and thereby encourages a reassessment of contemporary constructs of Irish identity. The introduction provides a contextual framework for significant contemporaneous social, cultural and economic changes in Ireland, and includes a case study of ‘The Spire,’ a monument unveiled on Dublin’s central boulevard in 2003, which I argue is the architectural metonym for the transitional nature of Celtic Tiger Ireland. The case study explores the aesthetics of the monument, as well as the politicised public debate that ensued, and thereby provides a snapshot of issues relevant to the readings pursued in dissertation’s remaining chapters. The discussion of Sebastian Barry’s ‘family plays’ reveals the playwright’s effort to refuse traditional binary conceptions of identity and to proffer, instead, a dramatic landscape that similarly refuses to allow conflict to dominate. Barry’s use of a non-conflictual dramatic form supports his narrative interest in compassion and peaceful resolution, and provides a model for living with otherness that could prove useful in an increasingly diverse and globalised Ireland. Marina Carr’s plays share Barry’s desire to represent aspects of Irish character anew, but they also dramatise how cultural transitions are difficult and never linear, and how the conventional pull of memory and the past has a residual presence in the ‘new’ Ireland. Taken together, these chapters reveal Barry’s hopefulness as an antidote to Carr’s tragic endings. The final chapter provides close readings of several ‘Celtic Tiger’ films, arguing that the representation of landscape is the key lens through which Irish film communicates shifting images of Irish identity. A cycle of films from the first years of the new millennium ekes out a space for new modes of representation through a critical dialogue with major tropes in Irish film history.
APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "Theaters, ireland, dublin"

1

Nicholas, Grene, Lonergan Patrick, and Chambers Lilian, eds. Interactions: Dublin Theatre Festival, 1957-2007. Dublin: Carysfort Press, 2008.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

The history of Dublin cinemas. Dublin: Nonsuch Publishing, 2007.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Frazier, Adrian. Behindthe scenes: Yeats, Horniman and the struggle for the Abbey Theatre. Berkeley: University of California Press, 1990.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Theatre in Dublin, 1745-1820: A history. Lanham, Md: Lehigh University Press, 2011.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

The boys: A double biography. Dublin: Gill & MacMillan, 1994.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

The boys: A biography of Micheál MacLíammóir and Hilton Edwards. Dublin: New Island, 2002.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

The boys: A double biography. Portsmouth, NH: Heinemann, 1996.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Clark, Gladys L. H., 1900-, ed. The Dublin stage, 1720-1745: A calendar of plays, entertainments, and afterpieces. Bethlehem: Lehigh University Press, 1993.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

J, Walsh T., ed. Opera in Dublin, 1798-1820: Frederick Jones and the Crow Street Theatre. Oxford: Oxford University Press, 1993.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Smock Alley Theatre: The evolution of a building. Dublin: Temple Bar Properties, 1996.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Theaters, ireland, dublin"

1

Purkis, Charlotte. "The Other Gates: Anglo-American Influences on and from Dublin." In Cultural Convergence, 107–40. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-57562-5_5.

Full text
Abstract:
Abstract An important influence on the foundation of the Dublin Gate Theatre in 1928 was the London Gate Theatre Studio. This chapter offers a historiographical survey concerning how the range of connections between these theatres have been treated by theatre commentators up to the present. Alongside this re-examination is a discussion of two other theatres that were also inspired by the London Gate, but established independently by the two London co-directors, Peter Godfrey and Velona Pilcher. Godfrey revived the early programming from London in 1943 at his ‘transplanted’ theatre in Hollywood, which also connected Los Angeles emigré culture back to Ireland. In London, Pilcher worked with a group of women associates to found a ‘new Gate’, the Watergate Theatre Club in 1949, which, with its avant-garde artistic ethos, had a cultural impact on the post-war London scene similar to the achievements of the earlier Gate theatres.
APA, Harvard, Vancouver, ISO, and other styles
2

Meehan, Emma. "Revisiting Lunar Parables: Dublin Contemporary Dance Theatre and the Intangible Archive." In Dance Matters in Ireland, 19–37. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-66739-3_2.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Pilný, Ondřej, Ruud van den Beuken, and Ian R. Walsh. "Introduction: Cultural Convergence at Dublin’s Gate Theatre." In Cultural Convergence, 1–13. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-57562-5_1.

Full text
Abstract:
Abstract The pioneering efforts of the Dublin Gate Theatre (est. 1928) stimulated the influx of experimental plays from the European Continent and North America to Ireland and inspired Irish theatre-makers to revolutionize their dramaturgy. This book examines the Gate’s poetics over the first three decades of its existence, discussing some of its remarkable productions in the comparative contexts of avant-garde theatre and of Hollywood cinema and popular culture. It also investigates cultural exchanges pertaining to the development of Irish-language theatre and the politics of the Gate. The introduction summarizes existing research about the Gate, outlines the book’s concept of cultural convergence and its overall approach – which is intent on the exploration of wider global contexts of the work of the Gate – and outlines the argument of the authors in the subsequent chapters.
APA, Harvard, Vancouver, ISO, and other styles
4

Leeney, Cathy, and Deirdre McFeely. "Social Class, Space, and Containment in 1950s Ireland." In The Golden Thread, 233–56. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800859463.003.0018.

Full text
Abstract:
Maura Laverty wrote her first play, Liffey Lane (1951), for Dublin’s Gate Theatre at the suggestion of Hilton Edwards that she adapt her 1946 novel,Lift Up Your Gates, for the stage. She went on to write two further plays, both also for the Gate, Tolka Row (1951) and A Tree in the Crescent (1952). In Part 1, this chapter explores Laverty’s portrayal of Dublin life in light of the social and moral politics of 1950s Ireland. Part 2 considers how Laverty’s trilogy tests the uses of theatrical space to represent social and personal experiences of urban class structures and aspirations in 1950s Ireland.
APA, Harvard, Vancouver, ISO, and other styles
5

Cullen, Clara. "War work on the home front: the Central Sphagnum Depot for Ireland at the Royal College of Science for Ireland, 1915–19." In Medicine, Health and Irish Experiences of Conflict, 1914-45. Manchester University Press, 2016. http://dx.doi.org/10.7228/manchester/9780719097850.003.0011.

Full text
Abstract:
Immediately after war was declared with Germany, emergency classes in first aid and ambulance work were organised in the Royal College of Science for Ireland (RCScI) in Dublin. By 1915 the College had two Voluntary Aid Detachments Red Cross groups who met hospital ships from the Western Front bringing casualties to Dublin hospitals. They were also provided aid to casualties of the Easter Rising. The women’s VAD also organised and managed the Central Sphagnum Depot for Ireland. Sphagnum moss had been found to have medicinal and absorbent properties and was known as a safe, reliable surgical dressing, making it a perfect replacement for increasingly scarce cotton wool in hospitals and dressing-stations during the First World War. As war casualties mounted, demands for this moss as a field-dressing increased. Between 1915 and 1919, over 900,000 dressings were dispatched to various theatres of war. This chapter assesses the work of the women who voluntarily involved themselves with the central depot by organising moss collection, sterilisation, packaging and dispatching. It also pits this Irish contribution to the war effort against Ireland’s increasingly turbulent political backdrop.
APA, Harvard, Vancouver, ISO, and other styles
6

van den Beuken, Ruud. "“Something left over from the Eighteenth Century, undergoing a slow process of decay”." In The Golden Thread, 185–96. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800859463.003.0014.

Full text
Abstract:
First performed at the Dublin Gate Theatre in 1931, Mary Manning’s Youth’s the Season–? depicts three days in the life of a particularly morose group of Dublin upper-class twenty-somethings as they slouch through their Georgian houses and mope in drawing rooms, feigning attempts at escaping their disaffected existence. While this representation of the youngest generation of the bourgeoisie is ostensibly comical, Youth’s the Season–? ends on a much darker note as it violently renounces the notion that the Ascendancy has any meaningful legacy in an independent Ireland. Furthermore, Manning’s characters are inhibited by the trauma of growing up during the cataclysmic years of the revolutionary period in Ireland (1916-1923). Accordingly, this chapter illustrates how the disaffected antics that Manning depicts are pathological responses to a world in which their social class has become obsolescent.
APA, Harvard, Vancouver, ISO, and other styles
7

Dickson, David. "The Shutting of the Gates." In The First Irish Cities, 213–34. Yale University Press, 2021. http://dx.doi.org/10.12987/yale/9780300229462.003.0011.

Full text
Abstract:
This chapter presents a wider challenge to the existing power structures in Ireland during the tumultuous 1790s. It recounts the collapse of the ancien régime in France and divided urban world, then examines how the French Revolution opened up cleavages and profoundly sharpened social and religious divisions. The chapter then introduces Mathew Carey, a Dublin baker's son, who presented his imprudent willingness to articulate in print the enormity of Catholic grievances. His violent criticism of Dublin Castle, of the English connection, and of local political heavyweights ended with his flight to America in disguise in 1784. The chapter also discusses how the local theatre provides some insight as to how far political attitudes shifted. The chapter then shifts to investigate how the two versions of democratic fraternity, the Belfast's first United Irish Society and Dublin United Irish Society, marked the beginnings of radical political organization. It follows the revival of the Catholic Committee in Dublin, and assesses the effects of the removal of the remaining penal laws, especially the firearms ban.
APA, Harvard, Vancouver, ISO, and other styles
8

"Playing Their Part for Ireland:." In Avant-Garde Nationalism at the Dublin Gate Theatre, 1928-1940, 51–75. Syracuse University Press, 2021. http://dx.doi.org/10.2307/j.ctv16x2bcf.7.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

"Playing Their Part for Ireland:." In Avant-Garde Nationalism at the Dublin Gate Theatre, 1928-1940, 51–75. Syracuse University Press, 2021. http://dx.doi.org/10.2307/j.ctv16x2bcf.7.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Remport, Eglantina Ibolya. "The Stones of Venice: Lady Augusta Gregory and John Ruskin." In John Ruskin’s Europe. A Collection of Cross-Cultural Essays With an Introductory Lecture by Salvatore Settis. Venice: Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-487-5/016.

Full text
Abstract:
John Ruskin’s diaries, letters, lectures and published works are testimonies to his life-long interest in Venetian art and architecture. Lady Augusta Gregory of Coole Park, County Galway, Ireland, was amongst those Victorian genteel women who were influenced by Ruskin’s account of the political and artistic history of Venice, following in Ruskin’s footsteps during her visits to Sir Henry Austen Henry and Lady Enid Layard at Ca’ Capello on the Grand Canal. This article follows Lady Gregory’s footsteps around the maritime city, where she was often found sketching architectural details of churches and palaces. By doing so, it reveals the extent of the influence of Ruskin’s Italian travels on the formation of Lady Gregory’s aesthetic sensibilities during the 1880s and 1890s, before she founded the Abbey Theatre in Dublin with the Irish dramatist John Millington Synge and the Irish poet and dramatist William Butler Yeats in 1904. As part of the discussion, it reveals the true subject matter in one of Lady Gregory’s Venetian sketches for the first time, one that is now held in Dublin at the National Library of Ireland.
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Theaters, ireland, dublin"

1

Wålinder, R., R. Runeson-Broberg, E. Arakelian, T. Nordquist, A. Runeson, and A. Rask-Anderson. "797 The job demand-control-support and effort-reward-imbalance models applied on swedish hospital workers in the operation theatre." In 32nd Triennial Congress of the International Commission on Occupational Health (ICOH), Dublin, Ireland, 29th April to 4th May 2018. BMJ Publishing Group Ltd, 2018. http://dx.doi.org/10.1136/oemed-2018-icohabstracts.994.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Theaters, ireland, dublin' for particular source types:
Journal articles Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography