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1
Merrett, Helen Ruth. "Perspectives on loyalism in representative Irish Drama". Thesis, University of Exeter, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.275907.
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Murphy, Paul. "Hegemony and fantasy in Irish drama, 1899-1949". Thesis, Staffordshire University, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.402434.
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Duncan, Dawn E. (Dawn Elaine). "Language and Identity in Post-1800 Irish Drama". Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc277916/.
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Using a sociolinguistic and post-colonial approach, I analyze Irish dramas that speak about language and its connection to national identity. In order to provide a systematic and wide-ranging study, I have selected plays written at approximately fifty-year intervals and performed before Irish audiences contemporary to their writing. The writers selected represent various aspects of Irish society--religiously, economically, and geographically--and arguably may be considered the outstanding theatrical Irish voices of their respective generations. Examining works by Alicia LeFanu, Dion Boucicault, W.B. Yeats, and Brian Friel, I argue that the way each of these playwrights deals with language and identity demonstrates successful resistance to the destruction of Irish identity by the dominant language power. The work of J. A. Laponce and Ronald Wardhaugh informs my language dominance theory. Briefly, when one language pushes aside another language, the cultural identity begins to shift. The literature of a nation provides evidence of the shifting perception. Drama, because of its performance qualities, provides the most complex and complete literary evidence. The effect of the performed text upon the audience validates a cultural reception beyond what would be possible with isolated readers. Following a theoretical introduction, I analyze the plays in chronological order. Alicia LeFanu's The Sons of Erin; or, Modern Sentiment (1812) gently pleads for equal treatment in a united Britain. Dion Boucicault's three Irish plays, especially The Colleen Bawn (1860) but also Arrah-na-Pogue (1864) and The Shaughraun (1875), satirically conceal rebellious nationalist tendencies under the cloak of melodrama. W. B. Yeats's The Countess Cathleen (1899) reveals his romantic hope for healing the national identity through the powers of language. However, The Only Jealousy of Emer (1919) and The Death of Cuchulain (1939) reveal an increasing distrust of language to mythically heal Ireland. Brian Friel's Translations (1980), supported by The Communication Cord (1982) and Making History (1988), demonstrates a post-colonial move to manipulate history in order to tell the Irish side of a British story, constructing in the process an Irish identity that is postnational.
4
Walsh, Maeve. "Re:vision : the interpretation of history in contemporary Irish drama". Thesis, Goldsmiths College (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.286613.
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Salis, Loredana. "'So Greek with consequence' : classical tragedy in contemporary Irish Drama". Thesis, Ulster University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.421897.
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Harris, Susan C. "Bodies and blood : gender and sacrifice in modern Irish drama /". Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/fullcit?p9837975.
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Stout, Rebecca Lynn. ""In dreams begins responsibility:" the role of Irish drama and the Abbey Theatre in the formation of post-colonial Irish identity". Texas A&M University, 2006. http://hdl.handle.net/1969.1/3843.
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This research does not hope to give a finalized portrait of Ireland and its vast and
diverse people. Instead, it hopes to add one more piece to the complicated mosaic that is
an honest depiction of Irish personal and national identity. Several plays by authors
considered to be quintessential Irish nationalists have been read in conjunction with
those authors biographies and the historical moments in which those plays were created,
to offer a multi-faceted perspective to the intersection between art, politics and
individual senses of personhood and nation. The final conclusion is that the growth and
development of a nation requires that the definition of national identity be in a constant
state of performance and revision.
Several key conclusions can be drawn from the findings here. First, Irish identity
is slippery and elusive. To try to finalize a definition is to stunt the growth of a
constantly evolving nation. Secondly, personal and national identity formation cannot
be separated into two distinct processes. Due to the unique political situation leading up
to Irish independence and the subjugated state of all Irish people, regardless of their class
or economic distinction, an individual always exists in relationship to those other members of his or her class, as well as those who define him or her by their differences.
Finally, because of this constantly evolving state and this complicated interrelationship
between the personal and the public, Irish stage drama bears a unique relationship to
Ireland, and to critics seeking to analyze that literature. The multiplicity of the Irish
experience demonstrates itself most clearly in the consistent newness of repeated
performances of its classic texts.
By examining the historical ruptures that resulted from the initial performances
of those texts and comparing them to the texts themselves, documents that live outside of
history until they are drawn back in by those who seek to reinterpret and re-perform
them, researchers can witness the evolution of key ideas of Irish nationalism from their
roots in personal experience, through the interpretive machine of the early Abbey
audiences, and as they continue to transform in modern presentations.
8
Macbeth, Georgia School of Theatre Film & Dance UNSW. "A Plurality of Identities: Ulster Protestantism in Contemporary Northern Irish Drama". Awarded by:University of New South Wales. School of Theatre, Film and Dance, 1999. http://handle.unsw.edu.au/1959.4/33257.
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This thesis examines the ways in which Ulster Protestant identity has been explored in contemporary Northern Irish drama. The insecurity of the political and cultural status of Ulster Protestants from the Home Rule Crises up until Partition led to the construction and maintenance of a distinct and unified Ulster Protestant identity. This identity was defined by concepts such as loyalty, industriousness and ???Britishness???. It was also defined by a perceived opposite ??? the Catholicism, disloyalty and ???Irishness??? of the Republic. When the Orange State began to fragment in the late 1960s and early 1970s, so did notions of this singular Ulster Protestant identity. With the onset of the Troubles in 1969 came a parallel questioning and subversion of this identity in Northern Irish drama. This was a process which started with Sam Thompson???s Over the Bridge in 1960, but which began in earnest with Stewart Parker???s Spokesong in 1975. This thesis examines Parker???s approach and subsequent approaches by other dramatists to the question of Ulster Protestant identity. It begins with the antithetical pronouncements of Field Day Theatre Company, which were based in an inherently Northern Nationalist ideology. Here, the Ulster Protestant community was largely ignored or essentialised. Against this Northern Nationalist ideology represented by Field Day have come broadly revisionist approaches, reflecting the broader cultural context of this thesis. Ulster Protestant identity has been explored through issues of history and myth, ethnicity, class, gender and sexuality. More recent explorations of Ulster Protestantism have also added to this diversity by presenting the little acknowledged viewpoint of extreme loyalism. Dramatists examined in this thesis include Stewart Parker, Christina Reid, Frank McGuinness, Bill Morrison, Ron Hutchinson, Marie Jones, Graham Reid, Robin Glendinning and Gary Mitchell. The work of Charabanc Theatre Company is also discussed. What results from their efforts is a diverse and complex Ulster Protestant community. This thesis argues that the concept of a singular Ulster Protestant identity, defined by its loyalty and Britishness, is fragmented, leading to a plurality of Ulster Protestant identities.
9
Jaros, Michael Perin. ""To Have Lived is Not Enough for Them" performing Irish history in the twentieth century /". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3307371.
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Thesis (Ph. D.)--University of California, San Diego, 2008.Title from first page of PDF file (viewed February 6, 2009). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 207-215).
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Grossman, Joanna Rebecah. "Shakespeare Grounded: Ecocritical Approaches to Shakespearean Drama". Thesis, Harvard University, 2014. http://nrs.harvard.edu/urn-3:HUL.InstRepos:13064927.
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Using the "Great Chain of Being" -- which was integral to the Elizabethan understanding of the world -- as a starting point, this dissertation examines the sometimes startling ways in which Shakespeare's plays invert this all-encompassing hierarchy. At times, plants come to the forefront as the essential life form that others should emulate to achieve a kind of utopian ideal. Still other times, the soil and rocks themselves become the logical extension of a desire to remove man from the pinnacle of earthly creation. Over the course of this project, I explore plays that emphasize a) alternative, non-mammalian modes of propagation, b) the desire to sink the human body into the earth (or, at a minimum, man's closeness to the ground), and c) the imagined lives of flora and fauna, while underscoring man's kinship with myriad organisms. In many of the works explored, a modern vision of materiality comes to the forefront, presenting a stark contrast to the deeply held religious views of the day. In flipping the ladder upside down, Shakespeare entices his reader to confront inherent weaknesses in human and animal biology, and ultimately to question why man cannot seek a better model from the lowly ground upon which he treads.
11
Daly, Nora F. "Deirdre and the destruction of Emain Macha : Jungian archetypes and Irish drama /". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0017/MQ42365.pdf.
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Decker, Martin [Verfasser]. "Irish Identities and the Great War in Drama and Fiction / Martin Decker". Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2016. http://d-nb.info/1116874733/34.
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Wyss, Rebecca. "Troubling Northern Irish Herstories: The Drama of Anne Devlin and Christina Reid". Ohio University Honors Tutorial College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1429992523.
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Valley, Leslie Ann. "Replacing the Priest: Tradition, Politics, and Religion in Early Modern Irish Drama". Digital Commons @ East Tennessee State University, 2009. https://dc.etsu.edu/etd/1856.
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By the beginning of the twentieth century, Ireland's identity was continually pulled between its loyalties to Catholicism and British imperialism. In response to this conflict of identity, W. B. Yeats and Lady Augusta Gregory argued the need for an Irish theatre that was demonstrative of the Irish people, returning to the literary traditions to the Celtic heritage. What resulted was a questioning of religion and politics in Ireland, specifically the Catholic Church and its priests. Yeat's own drama removed the priests from the stage and replaced them with characters demonstrative of those literary traditions, establishing what he called a "new priesthood". In response to this removal, Yeat's contemporaries such as J. M. Synge and Bernard Shaw evolved his vision, creating a criticism and, ultimately, a rejection of Irish priests. In doing so, these playwrights created depictions of absent, ineffectual, and pagan priests that have endured throughout the twentieth century.
15
Boyle, Terence A. "Denis Johnston (a critical biography)". Thesis, University of Ulster, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.390056.
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MacCionnaith, Eric-Michael A. "Resurrections : the use of folklore themes and motifs in Marina Carr's works /". Connect to title online (Scholars' Bank) Connect to title online (ProQuest), 2008. http://hdl.handle.net/1794/7490.
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Thesis (Ph. D.)--University of Oregon, 2008.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 141-147). Also available online in Scholars' Bank; and in ProQuest, free to University of Oregon users.
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Cimei, Christopher Yo. "Troubling spaces : the representation of space and place in Troubles-era Northern Irish drama". Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/25945.
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Troubling Spaces explores the relationship between the representation of space and place on the Northern Irish stage and the production of space that occurs within Northern Irish society during the Troubles. Drawing from Henri Lefebvre’s The Production of Space, I examine how Nationalists and Unionists produced a series of communal narratives which allowed them to reorder Northern Irish space and its social relations. Additionally, I examine how these communal ideologies create divergent concepts of Northern Irish place which Doreen Massey refers to as negative and enclosed concepts of place. This not only reinforces the dualistic binary between Nationalism and Unionism, it also incites tribal associations and allegiances. Moving on from this, I conduct a close reading of three Troubles plays, Stewart Parker’s Northern Star and Pentecost and Christina Reid’s Tea in a China Cup, to examine how their dramatic narratives intersect and interact with non-traditional stage space to produce dramatic environments which provide compelling commentaries on Northern Irish spatiality. My examination of Northern Star traces the development of the ideological structures which shape Northern Irish spatiality; in Pentecost, I explore how its liminal domestic space is perfectly suited to illustrate the dynamic conceptualisation of place Massey argues for; and, finally, in Tea in a China Cup, I develop the distinction between private domestic spaces and public social spaces further by examining matrilineal narratives in relation to communal symbols within a female-coded domestic space. Through these close readings, I will demonstrate that a dialogical relationship can be discerned between the production of space and place that occurs within Northern Irish society and the representation of it on the Northern Irish stage. While many plays have the potential to act as an endorsement of the restrictive and enclosed concepts of space and place in the ideological frameworks of Nationalism and Unionism, the three that I have chosen provide important counterpoints during the Troubles that actively resist their cultural hegemony.
18
Riordan, Michael, i n/a. "Terrible Beauty: Ideology and Political Discourse in the Early Plays of Sean O'Casey". Griffith University. School of Humanities, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040615.132200.
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This thesis argues that prominent in the purposes of the dramaturgy of Irish playwright Sean O'Casey was the promotion of his political causes - most notably socialism. In his avidity for the cause of establishing a workers' paradise, following the Soviet model, in Ireland, his ire was drawn to the movements and institutions he perceived as distracting the masses from pursuit of this ideal: republicanism and the Church. These political ideals are prominent themes in his collected works - both fiction and non-fiction. The work is essentially divided into two sections. The first examines the development of O'Casey's ideologies - his socialism, anti-nationalism and anti-clericalism - and the backdrop against which they developed. The purpose is to establish just how passionately O'Casey felt about these ideals and how, in his letters, histories and autobiographies, he dedicated much of his effort to promoting them. Having dedicated so much time and energy to championing socialism and attacking the Church in these texts, it is little wonder they should appear so prominently in his plays. The thesis argues that O'Casey distorted the content of his Autobiographies to reinforce his role as self appointed champion of Dublin's "bottom fifth" and his beloved working class. It contends that O'Casey embellished the suffering of his childhood and the hardship endured by his family to fortify his credentials as a "socialist hero" - to be "for them" he sought to be "of them," and to provide a model for how learning and conversion to the socialist ideal would liberate them from the economic oppression that kept them low. A number of facts, even elementary ones like the number of children in the Casey brood and particular dates and addresses where he had lived, were changed to cultivate the working class hero image, the disadvantaged boy who rose up against all that an unjust and unsympathetic world could throw at him, that he so coveted. The more abject the origins, the greater the final triumph. The thesis then looks briefly at the origins and purposes of the Abbey Theatre, and its part in the Irish Renaissance that gave O'Casey his start. It focuses particularly on the role of Yeats, and his desire to build a dramatic movement which created work free from opinion. His famous determination to "reduce the world to wallpaper" brought him into conflict with O'Casey, who saw his plays as a legitimate vehicle for the expression of his own world view. It is important, in terms of the objective of this study, to establish that O'Casey's works were deliberately constructed pieces of didacticism, to demonstrate just how inimical to the original intent of the movement his purposes were. With this in mind, it is instructive to compare him with the other great Irish dramatist of the period, John Millington Synge, whose works, with their more rustic focus, promoted the kind of impressionistic 'slice of life' theatre the Abbey founders were championing. For O'Casey, the cause was paramount. He wrote morality plays. The study examines how O'Casey's dominant ideological position evolved by examining his own changing perspective about the world around him. It shows how O'Casey began to see all struggles in terms of the economic one between classes, and how he came to be converted to the tenets of socialism. His opposition to nationalism and his anti-clericalism essentially reflected his belief that they were hostile to the interests of the workers, and therefore must be engaged. The dominant sources in this section are O'Casey's letters, his Autobiographies, and his book, The Story of the Irish Citizen Army. The second section of the thesis focuses on the first seven extant plays: The Harvest Festival, The Shadow of a Gunman, Juno and the Paycock, The Plough and the Stars, The Silver Tassie, Within the Gates, and The Star Turns Red, and examines how each promotes O'Casey's causes. The purpose of the thesis is not to promote a reworking of the biographical detail of O'Casey's life, but to trace the shift in the playwright's ideology - from Protestant Orange to Republican Green and finally, and most steadfastly, Socialist Red - and examine how these beliefs found voice in the characters and construction of his earlier plays.
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Riordan, Michael. "Terrible Beauty: Ideology and Political Discourse in the Early Plays of Sean O'Casey". Thesis, Griffith University, 2004. http://hdl.handle.net/10072/367087.
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This thesis argues that prominent in the purposes of the dramaturgy of Irish playwright Sean O'Casey was the promotion of his political causes - most notably socialism. In his avidity for the cause of establishing a workers' paradise, following the Soviet model, in Ireland, his ire was drawn to the movements and institutions he perceived as distracting the masses from pursuit of this ideal: republicanism and the Church. These political ideals are prominent themes in his collected works - both fiction and non-fiction. The work is essentially divided into two sections. The first examines the development of O'Casey's ideologies - his socialism, anti-nationalism and anti-clericalism - and the backdrop against which they developed. The purpose is to establish just how passionately O'Casey felt about these ideals and how, in his letters, histories and autobiographies, he dedicated much of his effort to promoting them. Having dedicated so much time and energy to championing socialism and attacking the Church in these texts, it is little wonder they should appear so prominently in his plays. The thesis argues that O'Casey distorted the content of his Autobiographies to reinforce his role as self appointed champion of Dublin's "bottom fifth" and his beloved working class. It contends that O'Casey embellished the suffering of his childhood and the hardship endured by his family to fortify his credentials as a "socialist hero" - to be "for them" he sought to be "of them," and to provide a model for how learning and conversion to the socialist ideal would liberate them from the economic oppression that kept them low. A number of facts, even elementary ones like the number of children in the Casey brood and particular dates and addresses where he had lived, were changed to cultivate the working class hero image, the disadvantaged boy who rose up against all that an unjust and unsympathetic world could throw at him, that he so coveted. The more abject the origins, the greater the final triumph. The thesis then looks briefly at the origins and purposes of the Abbey Theatre, and its part in the Irish Renaissance that gave O'Casey his start. It focuses particularly on the role of Yeats, and his desire to build a dramatic movement which created work free from opinion. His famous determination to "reduce the world to wallpaper" brought him into conflict with O'Casey, who saw his plays as a legitimate vehicle for the expression of his own world view. It is important, in terms of the objective of this study, to establish that O'Casey's works were deliberately constructed pieces of didacticism, to demonstrate just how inimical to the original intent of the movement his purposes were. With this in mind, it is instructive to compare him with the other great Irish dramatist of the period, John Millington Synge, whose works, with their more rustic focus, promoted the kind of impressionistic 'slice of life' theatre the Abbey founders were championing. For O'Casey, the cause was paramount. He wrote morality plays. The study examines how O'Casey's dominant ideological position evolved by examining his own changing perspective about the world around him. It shows how O'Casey began to see all struggles in terms of the economic one between classes, and how he came to be converted to the tenets of socialism. His opposition to nationalism and his anti-clericalism essentially reflected his belief that they were hostile to the interests of the workers, and therefore must be engaged. The dominant sources in this section are O'Casey's letters, his Autobiographies, and his book, The Story of the Irish Citizen Army. The second sectio of the thesis focuses on the first seven extant plays: The Harvest Festival, The Shadow of a Gunman, Juno and the Paycock, The Plough and the Stars, The Silver Tassie, Within the Gates, and The Star Turns Red, and examines how each promotes O'Casey's causes. The purpose of the thesis is not to promote a reworking of the biographical detail of O'Casey's life, but to trace the shift in the playwright's ideology - from Protestant Orange to Republican Green and finally, and most steadfastly, Socialist Red - and examine how these beliefs found voice in the characters and construction of his earlier plays.Thesis (Masters)
Master of Philosophy (MPhil)
School of Humanities
Full Text
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Bloom, James. "The broken yoke : a dozen BBC radio plays about the Anglo-Irish past and its present". Thesis, University of Exeter, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.390127.
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Fitz-Simon, Christopher O'Connell. "Popular Irish drama in the decade leading up to the opening of the Abbey Theatre". Thesis, University of Ulster, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.413871.
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Minogue, M. W. "Performing Protestantism : the representations of Protestant, Unionist, and Loyalist identities in selected Northern Irish drama". Thesis, Queen's University Belfast, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.680055.
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This dissertation discusses the work of three Northern Irish playwrights: Stewart Parker, Christina Reid, and Gary Mitchell. Specifically, it examines the Protestant, unionist, and loyalist identities of the characters within their plays. During the Troubles and post-Good Friday Agreement era, during which these plays were written and performed, such identities were in flux, as the socio-political landscape of Northern Ireland was undergoing a volatile and violent upheaval. Chapter One discusses the roles and identities of the main ' actors ' in the Troubles: paramilitaries, the police, the British Army, and politicians. This chapter examines the identities of such actors themselves, and also their interactions with the civilians of the province. Chapter Two focuses on the performance of masculinities, and has its basis in contemporary theories of Western masculinities. The specific performance of Northern Irish masculinities is examined, as well as the potential for future masculinities posited by these playwrights. Chapter Three turns its attention to the roles of women in Northern Ireland and their representations on stage in the works of Parker, Reid, and Mitchell. The political, social, and cultural mores of the province are examined in detail, as it is these conditions to which the playwrights, and their works, are reacting against. Chapter Four examines the works for radio and television by Parker, Reid, and Mitchell. Within these mediums, these authors are able to more effectively write against media stereotypes perpetuated by news footage and inadequate reporting from the province, allowing their audiences to see the 'reality' of the everyday lives of Northern Irish men and women.
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Greenwood, Joseph. "The mnemonic and performative function of song in selected Irish plays from the 1950s and 1960s". Thesis, Queen's University Belfast, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.675919.
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Batchelder, Kelly. "SCENE AND UNSEEN: ABJECTION AND THE FEMALE BODY IN FILMS AND DRAMA OF THE NORTHERN IRISH TROUBLES, 1969-1998". OpenSIUC, 2020. https://opensiuc.lib.siu.edu/dissertations/1810.
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This dissertation focuses on the empowerment and disempowerment of the female body during the Troubles of Northern Ireland (1969-1998). It explores the ways that visual texts – mainly film and theater – expose, explain, and challenge the denigrating perceptions of the female body that prevailed during and after the prison protests of the early 1980s for special category status. In each of my four chapters, I examine a Troubles film or drama via French Feminist Julia Kristeva’s theorization of the female body as an abject threat to patriarchy. This dissertation utilizes the theory of abjection as a way to explain the elision of the female body, manifested as the so-called “dirty” protester, the mother and wife of the hunger striker, and the transgender female, from the pages of history, but with the ultimate goal of challenging the very perception of the female body as inherently abject.
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Joyner, Thomas Parnell. "And what rough beast: The political geography of physical impairment in twentieth-century Irish drama and theatre". Connect to online resource, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3256441.
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Capuchinho, Adriana Carvalho. "Liminaridade, Sacrifício e Reciprocidade: uma abordagem do ritual em três peças de Brian Friel". Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-21022013-111001/.
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Este trabalho analisa três peças de Brian Friel - The Enemy Within (1962), Faith Healer (1979) e Dancing at Lughnassa (1990) escritas em um intervalo de quase trinta anos. Nossa tese é de que Friel escreve as três peças como rituais, o que, por sua vez, retira da concepção elaborada pelos ritualistas de Cambridge, na década de 1920, de que a tragédia grega e o drama se desenvolveram a partir dos rituais de fertilidade. Notamos que a influência da tragédia e dos rituais em Friel está consideravelmente mais vinculada à forma e à abordagem das peças enquanto um ritual que à reescritura de tragédias gregas ou mitos, muito embora alusões sejam recorrentes. Friel retrabalha mitos e rituais a fim de refazer e atualizar o drama enquanto um ritual em si mesmo, cuja razão de ser é permitir a significação e reorganização da vida individual e social no mundo moderno industrial, no caso específico, a vida na Irlanda contemporânea. Ocupamo-nos dos dramas sociais e dos rituais de passagem, com atenção especial ao período liminar, caracterizado pela transição entre papéis sociais envolvendo um período de não-pertencimento. Os três grupos envolvidos em cada uma das peças: os monges e noviços em The Enemy Within, a pequena trupe mambembe em Faith Healer e a família em Dancing at Lughnasa, vivem na periferia de suas sociedades sendo liderados por figuras vivendo uma situação liminar participando de dramas sociais que envolvem processos rituais tanto formais como não-institucionalizados.This work addresses three plays by Brian Friel - The Enemy Within (1962), Faith Healer (1979) and Dancing at Lughnassa (1990) - written within a period of almost thirty years. Our thesis is that Friel writes all three plays as rituals, a conception taken from the Cambridge Ritualists, who in the 1920s assume that Greek tragedy and drama grew out of the ancient fertility rituals. We notice that the influence of tragedy and rituals on Friel\'s work is more connected to the form and approach to the plays as rituals than to the rewriting of Greek tragedies or myths. Friel reworks myths and rituals in order to update and remake drama as a ritual in itself, whose raison d\'etre for him is to allow the meaning and reorganization of individual and social life in modern industrial world, mainly life in contemporary Ireland. We deal here with social dramas and rites of passage, with special regard to the liminal period, characterized by the transition between social roles and involving a period of not belonging. The three groups involved in each play: the monks and novices in The Enemy Within, the small troupe in Faith Healer and the family in Dancing at Lughnasa, live on the boundaries of their societies and are led by men who are in a liminal situation in social dramas which involve both institutionalized and informal ritual processes.
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Roscoe, Jane Anna Marie. "The Irish conflict as portrayed in British drama documentaries : an analysis of the television text and audience interpretations". Thesis, University of East London, 1994. http://roar.uel.ac.uk/1250/.
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The research was developed and conducted to analyse the way in which the conflict is represented in two British drama-documentaries, Who Bombed Birmingham? and Shoot to Kill, and to examine audience understandings of the events presented in the programmes. In doing it has raised issues concerning the social production of knowledge, the availability of discourses around the conflict and the processes by which viewers make sense of television presentations. This research has aimed to locate the representations and the audience interpretations in the wider social context. With the focus on discourse and language it has been possible to show how the debates about the conflict take place around a restricted set of repertoires, in particular debates concerning violence. This is partly due to censorship, but also because of the way in which some accounts are seen as being obvious or 'natural'. This was empirically addressed by the Q-methodological study which identified two accounts through which participants made sense of the conflict. This set the wider social and cultural context within which the broader based audience discussions and understandings could be located. The audience group discussions clearly showed viewers to be both 'social' and 'active' although constrained by the text which could be seen as having 'set the agenda', but, some viewers could be seen as giving 'critical' readings. By examining drama-documentaries some key questions were addressed concerning the role they played in constructing social knowledge and creating histories of the events of the conflict. The notion of drama-documentary as a 'problematic' form was addressed with particular attention being paid to the way in which 'fact' and 'fiction' are constructed as separate entities. This further opened up the debate as to whether they could or should be seen as a 'progressive' teievisual form. Whilst they can be seen as providing some space for alternative representations they do so in the wider context within which there are a limited number of representations in circulation from which to draw from.
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Baker, Vanessa Grace. "RITUAL AS THE WAY TO SPEAK IN DANCING AT LUGHNASA". Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1149015059.
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Yun, Hunam. "Appropriations of Irish drama by modern Korean nationalist theatre : a focus on the influence of Sean O’Casey in a colonial context". Thesis, University of Warwick, 2010. http://wrap.warwick.ac.uk/34647/.
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My thesis explores how a translated author on the periphery of the host culture’s translated repertoire can be at once subversive and innovative on the colonial scene, using as an example the case of Sean O’Casey in colonial Korea. It explores the importation of Irish drama in modern Korean theatre during the colonial period and examines the appropriations of O’Casey’s plays by a central Korean playwright, Yu Chi-jin, in creating his own plays. Under Japanese colonial rule in the early twentieth century, intellectuals perceived the supreme task for the Korean people to be the recovery of national sovereignty and independence. The modern Korean theatre movement which rose among Korean intellectuals and dramatists during the colonial period was to play a major part in this task. The ultimate goal of this movement was to establish a modern national theatre promoting Korean culture and educating the people, thereby recovering national independence. As their modernised dramatic polysystem was still "young", Korean intellectuals and dramatists who were involved in the theatre movement had to borrow dramatic models from other countries. One of the models they chose was Irish playwrights, especially those who were involved in the Irish dramatic movement. They published or staged the works of W.B. Yeats, Lord Dunsany [Edward John Moreton Drax Plunkett], Augusta Gregory, J.M. Synge, St. J. Ervine, T.C. Murray and Sean O'Casey. Although O'Casey was considered an important dramatist in the Irish dramatic movement, he was a playwright on the periphery in the list of translated Irish dramatists in Korea due to the colonisers’ censorship. However, he remained as a subversive and innovative playwright on the colonial scene by virtue of being appropriated by Yu Chi-jin who used O’Casey’s plays as models when creating his own works. In discussing the subject matter of my thesis, I use Even Zohar’s polysystems theory as a starting point in looking at ideological issues surrounding translation and extend the discussion to offer a postcolonial perspective. While most translation in a colonial context was considered as "an expression of the cultural power of the colonisers," my thesis shifts the focus to translation as an expression of the cultural power of the colonised. I explore how the colonised uses another colonised culture to subvert the colonisers’ power.
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Justino, Adriana Torquete do Nascimento. "Da biografia para o palco: três peças de Thomas Kilroy". Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-09112012-124318/.
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A presente dissertação examina a transposição da biografia para o palco em três peças do autor irlandês Thomas Kilroy: Double Cross (1986), The Secret Fall of Constance Wilde (1997) e My Scandalous Life (2004), analisando o modo como o dramaturgo adaptou os registros históricos para a linguagem teatral e explorou as lacunas biográficas por meio de elementos ficcionais; e de que forma foram empregados os recursos épicos na forma dramática. Double Cross baseia-se em duas figuras históricas, Brendan Bracken e William Joyce, que atuaram em lados opostos durante a Segunda Guerra Mundial. The Secret Fall of Constance Wilde transpõe para o teatro episódios da vida de Constance, esposa de Oscar Wilde. O monólogo My Scandalous Life retoma a personagem Lord Alfred Douglas, presente em The Secret Fall of Constance Wilde.The present dissertation examines the transposition from biography to stage in three plays by Thomas Kilroy: Double Cross (1986), The Secret Fall of Constance Wilde (1997) e My Scandalous Life (2004), analyzing how the Irish playwright adapted the historical records for theatrical language and filled in the biographical gaps through fictional elements; and how epic features were used in dramatic form. Double Cross is based on two historical figures, Brendan Bracken and William Joyce, who were on opposite sides during the Second World War. The Secret Fall of Constance Wilde transposes events of Constances life, Oscar Wildes wife, to the stage. The monologue My Scandalous Life concentrates on Lord Alfred Douglas, also present in The Secret Fall of Constance Wilde.
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Farrelly, Ann Dillon. ""It depends on the fella. And the cat." negotiating humanness through the myth of Irish identity in the plays of Martin McDonagh /". Columbus, Ohio : Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1086104442.
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Thesis (Ph. D.)--Ohio State University, 2004.Title from first page of PDF file. Document formatted into pages; contains vii, 189 p. Advisor: Joy Reilly, Theatre Graduate Program. Includes bibliographical references (p. 181-187).
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Bowker, Gemma-Jane. "Explorations of the maternal and the mother-daughter dyad in plays by British and Irish women playwrights and comparative drama from 1945 to the present day". Thesis, University of Manchester, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.508605.
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Schuler, Anne-Marie E. "Counsel, Political Rhetoric, and the Chronicle History Play: Representing Conciliar Rule, 1588-1603". The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1321840691.
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Sen, Shiladitya. "Metatheatricality on the Renaissance Stage, the Audience and the Material Space". Diss., Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/165652.
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EnglishPh.D.
My dissertation examines how early modern metatheater enabled the Renaissance stage and its original audience to develop a complex and symbiotic relationship. Metatheater--by which I mean a particular mode of theatre, in which actors, playwrights, dramatic characters and/or (in particular) audiences express or share a perception of drama as a fictional and theatrical construct--pervaded Renaissance drama, not by simple happenstance but arising almost inevitably from the complex context within which it functioned. The early modern stage was a particularly conflicted forum, which monarchs and playwrights, town fathers and actors, censors and audiences, impresarios and anti-theatricalists, all strove to influence and control. The use of the metatheatrical mode allowed playwrights and players to better navigate this difficult, sometimes dangerous, space. In particular, the development of Renaissance metatheater derived from (and, simultaneously, affected) the unique nature of its original spectators, who practiced a much more actively engaged participation in the theater than is often recognized. Performers and playwrights regularly used metatheatricality to adapt to the needs and desires of their audience, and to elicit the intellectual and emotional responses they desired. My study utilizes a historically contextualized approach that emphasizes the material conditions under which Renaissance drama arose and functioned. It begins by examining the influence of the surrounding milieu on the Renaissance stage and its spectators, especially its facilitation of the development and use of metatheater. Then, via close readings of four plays--Kyd's The Spanish Tragedy, Shakespeare's Henry V and Antony and Cleopatra, and Beaumont's The Knight of the Burning Pestle--the dissertation indicates how varied and versatile early modern metatheater was, and how it responded to and influenced the nature of its audiences. My study demonstrates the centrality of metatheater to early modern theatrical practice, delineates its pervasive influence on the stage-audience relationship in Renaissance theaters, and underlines the influence of material conditions on the creation and dissemination of Elizabethan and Jacobean drama.
Temple University--Theses
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Bell, Caehlin O'Malley. "Being Ireland Lady Gregory in Cathleen Ni Houlihan /". Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1211912530.
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Parra, Cláudia [UNESP]. "Imaginary irishness: the feminine in dramatisations of the Paster Rising in Sean O’Casey’s the plough and the stars and Tom Murphy’s The Patriot Game". Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/136336.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Uma vez que a cultura nacional irlandesa tem formado uma concepção imaginária de identidade, isso afeta também a imagem da mulher. O drama irlandês tem contribuído muito para o debate e revisionismo sobre a identidade irlandesa e, no século XX, a Revolta da Páscoa em 1916 foi escolhida como contexto por alguns dramaturgos irlandeses pra promover uma reflexão sobre essa questão. Sean O’Casey e Tom Murphy apresentaram versões da Revolta da Páscoa nos palcos do Abbey que abordaram a identidade da mulher irlandesa em um contexto nacionalista. Uma comparação desses dois textos dramáticos revela que, embora os dramaturgos tenham usado estratégias diferentes, ambos reavaliaram a imagem feminina promovida pelo nacionalismo irlandês.
Ireland’s particular national culture has shaped an imaginary conception of identity which has also affected the image of women. Irish drama has contributed significantly to the debate on and revisionism of Irish identity and, in the twentieth century, the Easter Rising in 1916 was chosen by some Irish playwrights as a background to promote reflection on this question. Sean O’Casey and Tom Murphy presented versions of the Easter Rising on the Abbey stage which approached the identity of Irish women in a nationalistic context. A comparison of these two dramatic texts reveals that, although the playwrights used different strategies, they both reassessed the female image promoted by Irish nationalism.
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Moran, Caitlin. "Social Class, Literacy, and Elizabeth Cary: The Participation of Servants in Early Modern Private Drama". University of Dayton / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1398612946.
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Hall, Lynn. "Unruly Subjects: Willful Women in Modernist Narratives". Miami University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=miami1605813388828221.
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Najar, Daronkolae Esmaeil. "Pam Gems: Rethinking Her Life and the Impact of Her Plays on British Stage". The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1523487108676837.
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Wardell, Kathryn Brenna. "The rake's progress: Masculinities on stage and screen". Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11457.
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viii, 261 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.My dissertation analyzes the rake, the libertine male, a figure whose liminal masculinity and transgressive appetites work both to stabilize and unsettle hegemony in the texts in which he appears. The rake may seem no more than a sexy bad boy, unconnected to wider social, political, and economic concerns. However, my project reveals his central role in reflecting, even shaping, anxieties and desires regarding gender and sexuality, race and ethnicity. I chart the rake's progress from his origins in the Restoration era to the early twenty-first century. Chapter II examines William Wycherley's comedy The Country Wife in concert with John Dryden's Marriage à la Mode and Aphra Behn's The Rover to analyze the rake's emergence in seventeenth-century theatre and show that his transgression of borders real and figurative plays out the anxieties and aspirations of an emerging British empire. Chapter III uses John Gay's ballad opera The Beggar's Opera, a satiric interrogation of consumerism and criminality, to chart the rake in eighteenth-century British theatre as Britain's investment in global capitalism and imperialism increased. My discussion of Opera is framed by Richard Steele's early-century sentimental comedy The Conscious Lovers and Hannah Cowley's late-century The Belle's Stratagem, a fusion of sentiment and wit. Chapter IV hinges the project's theatre and film sections, analyzing Oscar Wilde's fin-de-siècle comedy The Importance of Being Earnest as a culmination of generations of theatre rakes and an anticipation of the film rakes of the modern and post-modern eras. Dion Boucicault's mid-century London Assurance is used to set up Wilde's queering of the rake figure Chapter V brings the rake to a new medium, film, and a new nation, the United States, as the figure catalyzes American tension over race and gender in early twentieth-century films such as Cecil B. DeMille's The Cheat, George Melford's The Sheik, and Ernest Lubitsch's Trouble in Paradise. My final chapter reads contemporary films, including Jenniphr Goodman's The Tao of Steve, Chris Weitz and Paul Weitz's About a Boy, and Gore Verbinski's trilogy Pirates of the Caribbean for Disney Studios, to assess the ways in which millennial western masculinity is in stasis.
Committee in charge: Dianne Dugaw, Co-Chair; Priscilla Ovalle, Co-Chair; Kathleen Karlyn; John Schmor
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Girel-Pietka, Virginie. "La crise de l'identité dans le théâtre de Denis Johnston". Thesis, Lille 3, 2013. http://www.theses.fr/2013LIL30029/document.
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La question de l’identité est au cœur de l’œuvre de Denis Johnston. Son théâtre revient de manière insistante sur l’histoire irlandaise, en particulier sur le processus de fabrication des mythes républicains qui transforment les meneurs des insurrections en héros de la nation, et dévoile l’écart entre les aspirations de ces grandes figures romantiques et les préoccupations fort terre-à-terre de ses contemporains au lendemain de la création de l’Etat Libre d’Irlande. La nation, telle qu’il la met en scène, semble s’être érigée sur les ruines de l’« identité irlandaise » telle que l’exaltaient les artisans de la Renaissance littéraire. Par ailleurs, Johnston met en crise la notion d’identité à l’échelle individuelle en interrogeant, par de nombreuses expérimentations dramaturgiques, le personnage de théâtre traditionnel : recours à l’allégorie, démultiplication des rôles pour un même personnage, sollicitation constante des jeux de rôles et de la métathéâtralité, le théâtre de Johnston fait la part belle à cette « crise du personnage » en laquelle Robert Abirached voit la marque du théâtre moderne. Notre hypothèse est que ces deux aspects de la dramaturgie johnstonienne sont les deux volets complémentaires d’une même critique du paradigme identitaire, dont il conviendra de définir les enjeux et les modalités. Nous analyserons conjointement les stratégies idéologiques et esthétiques que Johnston met en œuvre dans l'ensemble de ses pièces pour la scène, et montrerons qu'en démantelant les représentations figées d’une hypothétique « irlandité » pour mieux rendre à l’Irlande une identité multiple et mouvante, le dramaturge est peut-être, paradoxalement, l’un de ceux qui auront le mieux servi le projet des fondateurs du théâtre national irlandaisDenis Johnston 's dramatic works question the notion of identity. They all focus on the history of Ireland and more especially on the way Irish rebels have been turned into national icons, although the materialistic culture developing in the young Irish Free State is at odds with the ideals of those Romantic figures. In his view, national identity has fossilized into clichés that jeer at the Irish Literary Revival. At the same time, his plays destabilize the notion of identity on an individual level, unsetting conventional stage characters. He stages the "crisis of the character" which, according to Robert Abirached, modern drama is concerned with. I argue that those two aspects of Johnston's work are the two sides of one and the same critique of the failure of conventional drama to convey identity on the stage. Studying the ideology that underpins Johnston's aesthetic experiments, I intend to show that the dramatist turns out to have paradoxically served the purpose of the founders of Irish national drama : he disfigures the clichés which supposedly embody Irishness, and thus allows the nation to imagine again its multifaceted identity
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Merriman, Victor Nicholas. "Dramas of postcolonial desire : nation, representation and subjectivity in contemporary Irish theatre". Thesis, Staffordshire University, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.402736.
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Meinen, Iris [Verfasser]. "Das Motiv der Selbsttötung im Drama des 18. Jahrhunderts / Iris Meinen". Koblenz : Universitätsbibliothek Koblenz, 2012. http://d-nb.info/1020622334/34.
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Brinkman, Eric M. "Inclusive Shakespeare: An Intersectional Analysis of Contemporary Production". The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1595003420023716.
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Curham, Mary J. "The national spirit in the new Irish drama". Thesis, 2015. http://hdl.handle.net/10539/16561.
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SULLIVAN, WINIFRED HELEN. "MUSIC AND SOCIETY IN ELIZABETHAN DRAMA". 1986. https://scholarworks.umass.edu/dissertations/AAI8701223.
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This dissertation explores dramatic music as it refers to the Elizabethan world. It discusses works by Marlowe, Lyly, Shakespeare, Jonson, Beaumont, Fletcher, Marston, Webster, and Middleton. Chapter I views Elizabethan society and music. Chapter II finds the trumpet is an emblem of identification in Tamburlaine. Shakespeare emphasizes themes of order and responsibility with the aid of music in his history plays. The primary musical technique of King Richard II is analogy, but song, also, is integral to King Henry IV and King Henry V. The following two chapters consider music in comedy. Contrasting music helps convey the self-indulgence of Orsino and the revelers in Twelfth Night; Feste's epilogue song summarizes human joy and human weakness. Jonson satirizes courtiers' vanities in Cynthia's Revels and the English taste for ballads in Bartholomew Fair through song. In Volpone "Come, my Celia" epitomizes self-deception and coalesces the audience's attention. Beaumont's The Knight of the Burning Pestle satirizes middle-class musical pretensions and the affectation of melancholy. Chapter V discusses affective music and masques in tragedy. Musical dissonance and irony in The Malcontent contribute to the sense of a disordered world. The affective music of "O, let us howl" in The Duchess of Malfi conveys horror and foreshadows Ferdinand's madness; consonant music in the last section foreshadows the Duchess' acceptance of death. In The Maid's Tragedy straightforward masque is ironic; in Women Beware Women a masque covers murder. Chapter VI deals with the fragmented mind and world of King Lear. Bits of song increase the sense of fragmentation, link the Fool with Lear, and unite Lear's condition with conditions of humankind. The final chapter discusses The Tempest, in which music is critical to the portrayal of honor and dishonor. Ariel sings a lyric to lead Ferdinand to Miranda, but plays the lowly pipe and tabor to lead Caliban and his companions into the mire. Heavenly music implies restoration of order; "Where the Bee sucks" implies the freedom of the virtuous human spirit. Music in drama thus contributes to expressions of human proclivities and dilemmas and the timeless concerns of order and redemption.
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Macbeth, Georgia. "A plurality of identities : Ulster Protestantism in contemporary Northern Irish drama /". 1999. http://www.library.unsw.edu.au/~thesis/adt-NUN/public/adt-NUN20010622.113533/index.html.
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Johnson, Amy R. "Stranger in the Room: Illuminating Female Identity Through Irish Drama". Thesis, 2007. http://hdl.handle.net/1805/918.
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Thesis (M.A.)--Indiana University, 2007.Title from screen (viewed on May 23, 2007) Department of English, Indiana University-Purdue University Indianapolis (IUPUI) Includes vita. Includes bibliographical references (leaves 82-83)
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McHugh, Meadhbh. "Black Lyric: Trauma and Poetic Voice in Contemporary Irish Drama". Thesis, 2021. https://doi.org/10.7916/d8-x20m-ys55.
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I argue that lyricism, prevalent on the Irish stage from the inception of the national dramatic theatre tradition, is invoked, subverted, and exhausted by contemporary Irish playwrights. Lyric art had an evident nation-building function on the Irish stage, but the capacities of lyric language also included the expression and containment of painful material that otherwise could not easily be represented or voiced, but which, by the second half of the twentieth century, could not be comfortably repressed. In the period 1960-2010 (from Tom Murphy to Mark O’Rowe), playwrights of national significance—Murphy, Marina Carr, Martin McDonagh, Enda Walsh, and O’Rowe—increasingly associate the Hiberno-English lyric register with social fracture, emotional and psychic disturbance, and loss, until the lyric mode itself is exposed as inherently traumatized. I call this later mode, at the close of the twentieth century, “black lyric.” Black lyric operates as a travesty of lyric expression.
Black lyrical writing is lyrical text containing, but also produced by, pain, and at its fullest power, it operates as a grotesque parody of poetic expressiveness. It confronts the audience with trauma and psychic suffering attached to national expression rather than offering sonorous comfort. This project uses a combination of close reading, historical research, and theoretical analysis to argue that the playwrights who deploy heightened Hibernicized English at the end of the twentieth century are commenting upon and challenging the canon of Irish drama, which depended on a lyric register not only to console but to conceal. Commentators of twentieth-century Irish drama routinely remark on the dramatic tradition’s visceral poetry, yet it is rarely the subject of any sustained analysis outside of considerations of “language” or “style” generally. This dissertation seeks to partly address that omission.
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Diaz, Michael. "Gerald MacNamara a kulturní obrození v Severním Irsku". Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-297606.
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English Abstract Nationalist movements often utilize aspects of mythology and history in their attempts to create a nationalist ideology. Through a selective emphasis and narrow interpretation of historical events, nationalist groups strive to create a national mythology. In this regard, the nationalist movements in fin de siècle Ireland are no different. This thesis attempts to show how the work of Gerald MacNamara, an Irish nationalist writing from Unionist Belfast during the periods of Revival and partition, was able to utilize the dramatic forms of parody and satire to create an oeuvre that critiqued both nationalist and unionist ideologies and nationalist movements as a whole.