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Documents disponibles dans cette catégorie (393)

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Patrick LONERGAN, Directeur de publication ; Anne ENRIGHT, Préfacier, etc. | Londres : Methuen Drama | 2020![]()
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This article explores the gender politics of a neglected one-act play by Teresa Deevy, first staged at the Abbey in 1931, that revolves around the young female protagonist's recollection of a conve...![]()
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Part I - Nationalism and Identity 1 Divided Loyalties: The O’Neill 2 Deformities of Nationalism: Double Cross 3 Mum’s the Word: The Madame MacAdam Travelling Theatre Part II - Gender and Sexual...![]()
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Performing Trauma in Post-conflict Northern Ireland : Ethics, Representation and the Witnessing Body
This article evaluates the role of the body in the performance and reception of trauma testimony in post-conflict Northern Ireland. It explores how the body is exploited in public performances of n...![]()
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Linda ANDERSON, Éditeur scientifique ; Dawn Miranda SHERRATT-BADO, Éditeur scientifique | Stillorgan : New Island | 2017![]()
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Sonya KELLY, Auteur ; Noni STAPLETON, Auteur ; Margaret MCAULIFFE, Auteur | Londres : Methuen Drama | 2017![]()
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Tom Murphy's "Bailegangaire", premiered by Druid Theatre, Galway, in 1985 has its origins in a three-part TV drama which Murphy started planning in 1981. Of the three scripts only one, "Brigit", wa...![]()
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This essay analyses J.M. Synge's construction of domestic and institutional space in his debut play The Shadow of the Glen. The Richmond Asylum and Rathdrum Union Workhouse, the two institutions of...![]()
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Dermot HEALY, Auteur ; Keith HOPPER, Éditeur scientifique ; Neil MURPHY, Éditeur scientifique | Dublin : Dalkey Archive Press | 2016![]()
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Benedicte SEYNHAEVE, Auteur ; Raphaël INGELBIEN, Auteur |Several studies have tried to answer the question ‘where is Ireland in "The Tempest"?’, while others have assessed Ireland's sense of its own postcoloniality through Irish writers' engagement with ...![]()
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In this interview, conducted in the Summer of 2014, Frank McGuinness talks about his introduction to Old and Middle English as a student in University College Dublin and its influence on his writin...![]()
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While American regional theatre has flourished for decades, hardly any critics with a national profile pay attention to it, but theatre critic Terry Teachout has recently argued that criticism must...![]()
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Using the Theatre of Witness production "I Once Knew a Girl" as its focal point, this essay examines the operation of affect in performances that address Northern Ireland's history of civil conflic...![]()
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In this wide ranging interview between Druid's Artistic Director Garry Hynes and Nicholas Grene, she speaks of her work on the two marathon productions, DruidSynge in 2004–6 and DruidMurphy in 2012...