"Within the last ten years there has been a renaissance in Irish drama from both sides of the border, including work which has transferred to London and New York, touring Britain, Europe and Australia. This book explores the dynamics of the relationship between these representations of Ireland, and the fluid nature of cultural identity within a post-colonial context, especially during this current period of economic and political change." "The thematic structure reveals a reoccurrence of ideological concerns and dramatic strategies. These are framed by initial discussion of plays by now canonical figures such as Brian Friel, Frank McGuinness and Tom Murphy, but the book's emphasis lies with work by recent writers, especially that performed during the 1990s." "Since physicality of performance is central to this approach, informed by postcolonial theory, feminism and psychoanalysis, this book draws upon interviews with writers, performers, directors and groups, as well as productions seen in different venues. While the relationship between Ireland and Europe is considered in terms of cultural and economic influences and performance practices, that between Ireland and America is seen in terms of 'the dream of the West', the diaspora, tourism and globalisation."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Irish theatre and its histories appear to be dominated by men and their actions. This book's socially and culturally contextualized analysis of performance over the last two decades, however reveals masculinities that are anything but hegemonic, played out in theatres and other arenas of performance all over Ireland.
Irish literature's roots have been traced to the 7th-9th century. This is a rich and hardy literature starting with descriptions of the brave deeds of kings, saints and other heroes. These were followed by generous veins of religious, historical, genealogical, scientific and other works. The development of prose, poetry and drama raced along with the times. Modern, well-known Irish writers include: William Yeats, James Joyce, Sean Casey, George Bernard Shaw, Oscar Wilde, John Synge and Samuel Beckett.
This book charts the journey, in terms of both stasis and change, that masculinities and manhood have made in Irish drama, and by extension in the broader culture and society, from the 1960s to the present. Examining a diverse corpus of drama and theatre events, both mainstream and on the fringe, this study critically elaborates a seismic shift in Irish masculinities. This book argues, then, that Irish manhood has shifted from embodying and enacting post-colonial concerns of nationalism and national identity, to performing models of masculinity that are driven and moulded by the political and cultural practices of neoliberal capitalism. Masculinities and Manhood in Contemporary Irish Drama charts this shift through chapters on performing masculinity in plays set in both the Irish Republic and Northern Ireland, and through several chapters that focus on Womens and Queer drama. It thus takes its readers on a journey: a journey that begins with an overtly patriarchal, nationalist manhood that often made direct comment on the state of the nation, and ultimately arrives at several arguably regressive forms of globalised masculinity, which are couched in misaligned notions of individualism and free-choice and that frequently perceive themselves as being in crisis.
The Methuen Drama Guide to Contemporary Irish Playwrights is an authoritative guide to the work of twenty-five playwrights from the last 50 years whose work has helped to shape and define Irish theatre. Written by a team of international scholars, it provides an illuminating survey and analysis of each writer's plays and will be invaluable to anyone interested in, studying or teaching contemporary Irish drama. The playwrights examined range from John B. Keane, Brian Friel and Tom Murphy, to the crop of writers who emerged in the 1990s and who include Martin McDonagh, Marina Carr, Emma Donoghue and Mark O'Rowe. Each essay features: a biographical sketch and introduction to the playwright a discussion of their most important plays an analysis of their stylistic and thematic traits, the critical reception and their place in the discourses of Irish theatre a bibliography of texts and critical material With a total of 190 plays discussed in detail, over half of which were written during the 1990s and 2000s, The Methuen Drama Guide to Contemporary Irish Playwrights is unrivalled in its study of recent plays and playwrights.
This book is about the Wildean aesthetic in contemporary Irish drama. Through elucidating a discernible Wildean strand in the plays of Brian Friel, Tom Murphy, Thomas Kilroy, Marina Carr and Frank McGuinness, it demonstrates that Oscar Wilde's importance to Ireland's theatrical canon is equal to that of W. B. Yeats, J. M. Synge and Samuel Beckett. The study examines key areas of the Wildean aesthetic: his aestheticizing of experience via language and self-conscious performance; the notion of the dandy in Wildean texts and how such a figure is engaged with in today's dramas; and how his contribution to the concept of a ‘verbal theatre’ has influenced his dramatic successors. It is of particular pertinence to academics and postgraduate students in the fields of Irish drama and Irish literature, and for those interested in the work of Oscar Wilde, Brian Friel, Tom Murphy, Thomas Kilroy, Marina Carr and Frank McGuinness. okokpoj
Analysing major Irish dramas and the artists and companies that performed them, Modern Irish Theatre provides an engaging and accessible introduction to twentieth-century Irish theatre: its origins, dominant themes, relationship to politics and culture, and influence on theatre movements around the world. By looking at her subject as a performance rather than a literary phenomenon, Trotter captures how Irish theatre has actively reflected and shaped debates about Irish culture and identity among audiences, artists, and critics for over a century. This text provides the reader with discussion and analysis of: Significant playwrights and companies, from Lady Gregory to Brendan Behan to Marina Carr, and from the Abbey Theatre to the Lyric Theatre to Field Day; Major historical events, including the war for Independence, the Troubles, and the social effects of the Celtic Tiger economy; Critical Methodologies: how postcolonial, diaspora, performance, gender, and cultural theories, among others, shed light on Irish theatre’s political and artistic significance, and how it has addressed specific national concerns. Because of its comprehensiveness and originality, Modern Irish Theatre will be of great interest to students and general readers interested in theatre studies, cultural studies, Irish studies, and political performance.
The Irish Theatre in Transition explores the ever-changing Irish Theatre from its inception to its vibrant modern-day reality. This book shows some of the myriad forms of transition and how Irish theatre reflects the changing conditions of a changing society and nation.
This book examines theatre within the context of the Northern Ireland conflict and peace process, with reference to a wide variety of plays, theatre productions and community engagements within and across communities. The author clarifies both the nature of the social and political vision of a number of major contemporary Northern Irish dramatists and the manner in which this vision is embodied in text and in performance. The book identifies and celebrates a tradition of playwrights and drama practitioners who, to this day, challenge and question all Northern Irish ideologies and propose alternative paths. The author's analysis of a selection of Northern Irish plays, written and produced over the course of the last thirty years or so, illustrates the great variety of approaches to ideology in Northern Irish drama, while revealing a common approach to staging the conflict and the peace process, with a distinct emphasis on utopian performatives and the possibility of positive change.
Surveying the life, work and accolades of Irish playwright Brian Friel, this literary companion investigates his personal and professional relationships and his literary topics and themes, such as belonging, violence, patriarchy and hypocrisy. Character summaries describe his most significant figures, particularly St. Columba, the victims of Derry’s Bloody Sunday, and Hugh O’Neill, the Lord of Tyrone. Entries analyze Friel’s style in detail, from his column in the Irish Times and his short fiction in the New Yorker to his most recent plays, Philadelphia, Here I Come!, Translations, and Dancing at Lughnasa.