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In 2012 and 2013, two productions of the Hijabi Monologues, an American theatre project featuring the stories of Muslim women, were staged in Ireland. This essay considers their relationship to state-sponsored and community-led interculturalism [...]Nouveauté
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Pat Kinevane's solo performances focus on identities constituted on the margins of contemporary Irish society. Fusing the comic with the tragic, improvisation with carefully planned execution, and entertainment with serious cultural critique, th[...]
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Moonyoung HONG, Auteur |The paper examines Tom Murphy’s play The Wake and the significance of its staging as part of the Abbey Theatre’s 1916 centenary “Waking the Nation” programme. The play critiques the process by which various elements of capitalism – in particular[...]
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David CLARE, Directeur de publication ; Fiona McDonagh, Directeur de publication ; Justine Nakase, Directeur de publication | Liverpool : Liverpool University Press | 2021
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David CLARE, Directeur de publication ; Fiona McDonagh, Directeur de publication ; Justine Nakase, Directeur de publication | Liverpool : Liverpool University Press | 2021
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The Brian Friel Papers at the NLI reveal a long and relatively unexplored history of major and minor influences on Friel’s plays. As the archive attests, these influences manifest themselves in ways that range from the superficial to the deeply [...]Article
This article argues that Teresa Deevy’s early plays for the Abbey Theatre deliberately intervened in the cultural politics of the Irish Free State. While the focus here is on Temporal Powers(1932), Deevy’s first twoAbbey productions, The Reape[...]Article
Thierry DUBOST, Auteur |The Secret Fall of Constance Wilde, dont la première se déroula à l’Abbey Theatre en 1997, trouve son origine dans une commande du théâtre national visant à célébrer le centenaire de la sortie de prison d’Oscar Wilde. Cette œuvre singulière (Tho[...]Article
This article investigates how William Butler Yeats’s interest in, and professional engagement with, modern dance affected the dramaturgical composition of his plays. Instead of focusing on individual dancers’contributions to the dance plays’ pre[...]Article
Lisa FITZPATRICK, Auteur |This essay draws upon the work of Judith Butler, Sara Ahmed, and Germaine Greer to consider the #MeToo movement and its reflection in the work of the author’s students and the scandal at Dublin’s Gate Theatre. Taking competing conceptions of fre[...]Article
Eva URBAN, Auteur |The 2019 Lyric Theatre and Dublin Theatre Festival co-production of J. M. Synge’s The Playboy of the Western World (1907), directed by Oonagh Murphy, encouraged an abstract reading of the play in new political contexts. Set in the 1980s at the D[...]
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Monica FRAWLEY, Auteur | 2020Monica Frawley (1954-2020) was one of Ireland's best-loved and most respected theatre designers. For more than three decades her set and costume designs illuminated and defined new directions in Irish theatre, opera and dance. She worked with al[...]
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Eve PATTEN, Éditeur scientifique ; Claire CONNOLLY, Directeur de publication ; Marjorie HOWES, Directeur de publication | Cambridge : Cambridge University Press | 2020
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Eric FALCI, Éditeur scientifique ; Paige REYNOLDS, Éditeur scientifique ; Claire CONNOLLY, Directeur de publication ; Marjorie HOWES, Directeur de publication | Cambridge : Cambridge University Press | 2020
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Anne GOARZIN, Éditeur scientifique ; Maria PARSONS, Éditeur scientifique | Berne : Peter Lang | Reimagining Ireland | 2020
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Patrick LONERGAN, Directeur de publication ; Anne ENRIGHT, Préfacier, etc. | Londres : Methuen Drama | 2020
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Olwen FOUERE, Personne interviewée ; Pat MURPHY, Personne interviewée ; Alexandra SLABY, Intervieweur ; Luke DODD, Intervieweur | 2020Sainte Brigid est, avec Patrick et Columba, l’un des saints patrons de l’Irlande. Sa fête, le 1er février, est la traduction chrétienne d’Imbolc, célébration païenne qui marquait le début du printemps et honorait Brigid, déesse celtique associée[...]
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Throughout his long and varied playwriting career, Frank McGuinness has made extensive use of music from a plurality of genres. Music plays a variety of roles in the plays, supporting and enriching dramatic themes and moods. The music of Irish E[...]Article
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 convent production of Shakespeare's "Coriolanus" in w[...]
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Lynne PARKER, Personne interviewée ; Eleanor METHVEN, Intervieweur | 2019Il y a trente-cinq ans, Lynne Parker cofondait Rough Magic, l’une des compagnies théâtrales les plus appréciées et réputées d’Irlande. Elle nous offre un aperçu captivant de son travail de directrice artistique. L’occasion de revenir sur le parc[...]
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For many philosophical thinkers since Thomas More's Utopia, the idea of a perfect human society has been aporetic – present in the imagination, yet beyond existent reality. The atrocities of the 20th century convinced the philosopher and musicol[...]Article
Lia MILLS, Auteur ; Celia DE FREINE, Auteur |Celia de Fréine is a multi-award winning poet, playwright, screenwriter and librettist, who also writes essays and fiction in both English and Irish. She has published eight collections of poetry, including three dual-language editions with Arle[...]Article
This article analyses how Micheál macLíammóir’s Diarmuid and Gráinne (1928) and An Philibín’s Tristram and Iseult (1929) reimagine the function of mythology in the Free State by infusing their dramatic representations of these legendary marriage[...]Article
Dancing at Lughnasa has been widely discussed as a memory play. Critics frequently analyze the way Michael's narration shapes the story he tells of five unmarried sisters living together in 1930's Donegal. Fewer critics, however, focus on Michae[...]Article
This article reads Panti’s Noble Call at the Abbey theatre on 1 February 2014 in the light of Didier Eribon’s work on the experience of insult as constitutive of gay subjectivity. However, it goes on to argue that Panti’s narrated experience of [...]Article
Martin McDonagh's Hangmen (2015) is concerned with the moral question of justice. Set in a northern English pub run by a former hangman, the play's action takes place in 1965, on the day capital punishment is abolished in Britain. Combining (met[...]Article
James MORAN, Auteur |Kate O'Brien initially made her literary reputation as a dramatist rather than a novelist. Her debut play Distinguished Villa (1926) won acclaim in London when first produced onstage, and critics compared her with Seán O'Casey. However, O'Brien'[...]
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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 Sexuality 4 Bachelors Gay: The Death and Resurrection[...]
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Lian BELL, Auteur | 2018Événement enregistré dans le cadre de la programmation culturelle du CCI. La scénographe et directrice artistique Lian Bell évoque le grand succès de la campagne pour l’égalité des femmes dans le théâtre irlandais, qu’elle a lancée fin 2015 sou[...]Article
Accepted theatre history awards Sir Tyrone Guthrie a singular position of influence on Brian Friel's early career. But hundreds of documents newly discovered in BBC archives reveal that Belfast radio drama producer Ronald Mason was perhaps more [...]Article
Beckett's Ill Seen Ill Said begins with the protagonist in a position where ‘she sees Venus rise followed by the sun.’ This opening indicates the direct relationship between the narrative and astronomical phenomena of Venus rising as the morning[...]Article
This article discusses Beckett's and Friel's interest in waiting in the context of Jacques Derrida's notions of ‘messianism’ and the ‘messianic’. Beckett's Waiting for Godot and Friel's Freedom of the City and Wonderful Tennessee associate waiti[...]Article
This article concerns the Belfast dramatist Owen McCafferty (1961–) and his play Quietly, which debuted at the Abbey's Peacock Theatre in November 2012. Considering antecedents in McCafferty's earlier work, it illustrates how the play reflects a[...]Article
Yoko SATO, Auteur |W.B. Yeats intended The Cat and the Moon to be a Japanese ‘Kiogen’, a farce or comedy presented between two Noh plays or within a single Noh play. In the inner drama of The Cat and the Moon, miracles happen to both of the emblematic characters, [...]
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Au sein d'une carrière marquée par la performance, Tania Bruguera met en scène Endgame d'après Fin de partie de Samuel Beckett. Une oeuvre dont la portée politique interroge la transgression du pouvoir.Article
This essay explores how the notion of ‘parallel games’ works to queer memory in two productions of Northern Ireland's first publicly funded gay theatre company, TheatreofplucK, led by artistic director Niall Rea: the testimonial monologue D.R.A.[...]Article
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 nationalism and unionism, marginalised in psychoa[...]Article
This paper addresses William Butler Yeats’s dramatisation of his life-long interest in the invisible realm and an ideal Irish aristocracy in his five Cuchulain plays. I wish to illustrate how Yeats expresses his increasing ambiguities over the c[...]
