Irish drama and theatre since 1950:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
London ; New York ; Oxford ; New Delhi ; Sydney
Methuen Drama
2019
|
| Schriftenreihe: | Critical companions
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | viii, 263 Seiten Illustrationen 22 cm |
| ISBN: | 9781474262651 9781474262644 |
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Datensatz im Suchindex
| _version_ | 1804179407129018368 |
|---|---|
| adam_text | CONTENTS
List of Illustrations ix
Acknowledgements x
A Note on Archival Material xi
Introduction I
1 ‘Thank Goodness That’s Over’ - Irish Theatre in the 1950s 11
Siobhán McKenna and Shaw: from San Siobhán to Saint Joan 17
Brendan Behan: from An Giall to The Hostage 22
Beckett: from En attendant Godot to Waiting for Godot
to Ag Fanacht le Godot 29
2 Secularization and the ‘Post-Catholic’ in Irish Theatre 39
The Righteous Are Bold, 1946-63 43
Catholicism on the Irish stage in the 1950s 48
Catholicism in court: Máiréad Ni Ghrádas An Triad 1964-5 53
Tom Murphys The Sanctuary Lamp, 1975 57
Stewart Parkers Pentecost, 1987 61
Patricia Burke Brogans Eclipsed, 1992 65
From Eclipsed to ANU’s Laundry, 2011 69
3 Internationalizing Irish Theatre 75
Philadelphia, Here I Come! (1964) and the ‘Second Renaissance5 75
1956 and all that 82
Towards a Brechtian Irish theatre: Tomás Mac Anna, Murphy
and Friel 86
T feel so extraordinary5: Lynne Parkers Rough Magic 93
Chekhov in Ireland: Carr and Caldwell 98
Conclusion 109
Contents
4 Repeat and Revise - Recycling Irish Images, Narratives
and Tropes 111
Rewriting James Joyce, 1961-2014 112
Making Synge new: Garry Hynes and Druid Theatre, 1975-2005 118
Inheritances: Christina Reid and the Troubles, 1983-9 126
‘Lets trust the Bard : Marina Carr and the canon, 1989-2016 131
Dirty deeds: Martin McDonagh, 1996-2015 139
5 Encountering Difference 147
Introduction: Translations, 1980 147
Sectarianism and difference: Charabanc and Marie Jones 155
Sexuality and difference: Frank McGuinness 162
Migration and difference: Enda Walsh’s The Walworth Farce
and Once 171
Conclusions 180
/
6 After the Fall: Irish Drama Since 2000 181
The crash 181
McPherson: selling our souls 183
The spirit of the staircase: Mark O’Rowe s monologue plays 187
Fishamble and Deirdre Kinahan: rethinking relevance 196
New directions 201
7 Critical Perspectives 205
John B. Keane, Sive (1959) and the art of the amateur
Finian O Gorman 207
An incomplete history of performance art in Ireland (and its blood
relationship to theatre) Aine Phillips 217
Stage design since 1950 Siohhan O Gorman 227
Notes 241
References and Further Reading 243
Notes on Contributors 253
Index 255
viii
Drawing on major new archival discoveries and recent
research, Patrick Lonergan presents an innovative account
of Irish drama and theatre, spanning the past seventy years.
Rather than offering a linear narrative, the volume traces
key themes to illustrate the relationship between theatre
and changes in society. In considering internationalization,
theTroubles in Northern Ireland, the Celtic Tiger period,
feminism and the changing status of the Catholic Church
in Ireland, Lonergan asserts the power of theatre to act as an agent of change
and uncovers the contribution of individual artists, plays and productions in
challenging societal norms.
Irish Drama and Theatre Since 1950 provides a wide-ranging account of
major developments, combined with case studies of the premiere or revival
of major plays, the establishment of new companies and the influence of
international work and artists. While bringing to the fore some of the untold
stories and overlooked playwrights following the declaration of the Irish
Republic, Lonergan weaves into his account the many Irish theatre-makers
who have achieved international prominence in the period, from Samuel
Beckett and Siobhan McKenna through to Conor McPherson, Marie Jones
and Marina Carr. The contribution of major Irish companies to world theatre
is also examined, including both the Abbey and Gate theatres, as well as Druid,
Field Day and Charabanc.
Through its engaging analysis of seventy years of Irish theatre, the volume
charts the acts of gradual but revolutionary change that are the story of
Irish theatre and drama and of its social and cultural contexts.
|
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