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Books on the topic 'Theaters, ireland, dublin'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 January 2023

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1

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

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2

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

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3

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

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4

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

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5

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

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6

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

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7

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

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8

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

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9

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

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10

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

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11

Holloway, Joseph. The Diaries of Joseph Holloway: From the National Library of Ireland, Dublin, 1895-1944. Reading: Research Publications, 1988.

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12

Lawlor, Tom. Tom Lawlor at the Gate: Commemorating Tom Lawlorʹs photographs at the Gate Theatre, Dublin, Ireland. Carrigallen, Co. Leitrim: Design Inc., 1997.

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13

Watt, Stephen. Joyce, O'Casey, and the Irish popular theater. Syracuse, N.Y: Syracuse University Press, 1991.

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14

Hogan, Robert Goode. Murder at the Abbey Theatre: A comic historical novel. Dublin: Moytura Press, 1993.

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15

C, Douglas G., and COFORD, eds. Strategies for improvement of forest tree species: [proceedings of the symposium on Forest Genetics, March 9th, 1998 at Swift Theatre, Arts Building, Trinity College Dublin, Ireland]. Dublin: COFORD, National Council for Forest Research and Development, 1999.

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16

Hollywood Irish: John Ford, Abbey actors and the Irish revival in Hollywood. Dublin: Lilliput Press, 2011.

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17

Drama queen. London: Little Black Dress, 2008.

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18

Carolyn, Swift, ed. Spiked: Church-state intrigue and The rose tattoo. Dublin, Ireland: New Island, 2002.

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19

Theatre in Dublin 17451820 Volume 4 Theatre in Dublin. Lehigh University Press, 2011.

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20

Theatre in Dublin 17451820 Volume 5 Theatre in Dublin. Lehigh University Press, 2011.

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21

Theatre In Dublin 17451820 A Calendar Of Performances. Lehigh University Press, 2011.

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22

Theatre In Dublin 17451824 A Calendar Of Performances. Lehigh University Press, 2011.

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23

Theatre in Dublin, 1745-1820 Vol. 1: A Calendar of Performances. Rowman & Littlefield Publishers, Incorporated, 2011.

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24

C, Greene John. Theatre in Dublin, 1745-1820 Vol. 6: A Calendar of Performances. Rowman & Littlefield Publishers, Incorporated, 2011.

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25

C, Greene John. Theatre in Dublin, 1745-1820 Vol. 1: A Calendar of Performances. Rowman & Littlefield Education, 2011.

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26

C, Greene John. Theatre in Dublin, 1745-1820 Vol. 1: A Calendar of Performances. Rowman & Littlefield Education, 2011.

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27

C, Greene John. Theatre in Dublin, 1745-1820 Vol. 1: A Calendar of Performances. Rowman & Littlefield Education, 2011.

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28

Chambers, Lilian, Nicholas Grene, and Patrick Lonergran. Interactions: Dublin Theatre Festival 1957-2007. Lang AG International Academic Publishers, Peter, 2020.

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29

Chambers, Lilian, Nicholas Grene, and Patrick Lonergran. Interactions: Dublin Theatre Festival 1957-2007. Lang AG International Academic Publishers, Peter, 2020.

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30

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

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31

Chambers, Lilian, Nicholas Grene, and Patrick Lonergran. Interactions: Dublin Theatre Festival 1957-2007. Lang AG International Academic Publishers, Peter, 2020.

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32

Chambers, Lilian, Nicholas Grene, and Patrick Lonergran. Interactions: Dublin Theatre Festival 1957-2007. Lang AG International Academic Publishers, Peter, 2020.

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33

Frazier, Adrian. Behind the Scenes: Yeats, Horniman, and the Struggle for the Abbey Theatre. University of California Press, 2022.

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34

Frazier, Adrian. Behind the Scenes: Yeats, Horniman, and the Struggle for the Abbey Theatre. Ebsco Publishing, 1990.

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35

Frazier, Adrian. Behind the Scenes: Yeats, Horniman, and the Struggle for the Abbey Theatre. University of California Press, 2022.

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36

Gate Theatre, Dublin: Inspiration and Craft. Lang AG International Academic Publishers, Peter, 2018.

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37

Ltd, Carysfort Press, David Clare, Patrick Lonergan, and Des Lally. Gate Theatre, Dublin: Inspiration and Craft. Lang AG International Academic Publishers, Peter, 2019.

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38

Ltd, Carysfort Press, David Clare, Patrick Lonergan, and Des Lally. Gate Theatre, Dublin: Inspiration and Craft. Lang AG International Academic Publishers, Peter, 2019.

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39

Ltd, Carysfort Press, David Clare, Patrick Lonergan, and Des Lally. Gate Theatre, Dublin: Inspiration and Craft. Lang AG International Academic Publishers, Peter, 2019.

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40

Ireland, National Library of, ed. The W. A. Henderson scrapbooks, 1899-1911: From the National Library of Ireland, Dublin. Reading, Berkshire, England: Research Publications, 1990.

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41

Merriman, Victor. ‘As We Must’. Edited by Nicholas Grene and Chris Morash. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198706137.013.25.

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By the 1970s, arts funding for theatre in Ireland had become concentrated in three organizations: the Abbey and the Gate in the Republic, the Lyric Theatre in Northern Ireland. Changes in arts policy, North and South, beginning in the late 1970s, radically transformed the Irish theatre landscape over the following decades. Many of the most exciting and challenging developments in Irish theatre in the 1980s and 1990s thus came from the margins, whether on the social margins of society (such as work done at the the Axis Theatre in Ballymun) or from the geographical periphery of what had been a theatre culture centred in Dublin, in the work of companies such as Red Kettle in Waterford and in the construction of performance spaces around the island. This chapter provides an overview of this transformation of the Irish theatre world, focusing on the policy decisions that lay behind it.

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42

Byrne, Dawson. The Story of Ireland's National Theatre: The Abbey Theatre Dublin. Kessinger Publishing, LLC, 2005.

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43

Byrne, Dawson. The Story of Ireland's National Theatre: The Abbey Theatre Dublin. Kessinger Publishing, LLC, 2005.

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44

Fitz-Simon, Christopher. The Boys: A Biography of Micheal MacLiammoir and Hilton Edwards. Heinemann Drama, 1996.

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45

Fitz-Simon, Christopher. The Boys: A Double Biography. Nick Hern Books, 1994.

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46

Fitz-Simon, Christopher. The Boys: A Biography of Micheal Macliammoir and Hilton Edwards. New Island Books, 2002.

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47

Lonergan, Patrick. ‘Feast and Celebration’. Edited by Nicholas Grene and Chris Morash. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198706137.013.41.

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‘Festivalization’—the organization of theatre cultures around the moveable feast of the festival—is a defining feature of theatre culture in an age of globalization. The effects of this phenomenon on Irish theatre have been apparent for many years, going back to the Tóstal festivals in the 1950s, which in turn evolved into the Dublin Theatre Festival, which would bring to Ireland forms of contemporary theatre practice that challenged Irish theatre-makers to explore innovative ways of creating performances. At the same time, as the ‘festival play’ and ‘event theatre’ became increasingly important to the economics of theatre, Irish productions mounted with an eye to the festival circuit came to feature more prominently in Irish theatre production, and a number of Irish companies now define themselves in relation to this new global geography. This chapter explores and assesses the effects of this important feature of contemporary theatre practice.

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48

O'Conchubhair, Brian. Twisting in the Wind. Edited by Nicholas Grene and Chris Morash. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198706137.013.17.

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Without a strong native tradition of drama, theatre in the Irish language, initially associated with the Gaelic League, has been slow to develop and has suffered from many frustrations and setbacks. One of the landmark early productions wasCasadh an tSúgáinby the League’s founder Douglas Hyde (1901). The Abbey did not do much initially to foster Irish-language theatre, which has functioned intermittently in Dublin, with An Comhar Drámaíochta in the 1920s and An Damer, which produced Máiréad Ní Ghráda’sAn Triail(1964). More central to the tradition has been An Taibhdhearc, established in Galway in 1928, which continues to be Ireland only dedicated Irish-language theatre. While there have been outstanding plays in Irish produced in the Abbey, the future of the tradition seems to depend more on small adventurous companies such as Fíbín, Setanta, and the Belfast-based Aisling Ghéar.

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49

A, Henderson W., and National Library of Ireland, eds. The Abbey Theatre and cultural life from the National Library of Ireland, Dublin. Reading: Research Publications Ltd, 1990.

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50

A, Henderson W., and National Library of Ireland, eds. The Abbey Theatre and cultural life from the National Library of Ireland, Dublin. Reading: Research Publications Ltd, 1990.

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