ISTR Conference 2008 – Schedule

Irish Theatre: Contexts for Performance

University College Dublin, Blackrock Campus, Carysfort Avenue | 4-5 April, 2008

ISTR 2008 | Book of Abstracts

Friday 5 April 2008

Registration Desk open daily from 08:30 at Memorial Theatre


0900-1150 Working Groups Sessions


1150- Lunch – Blackrock Campus Restaurant


12:30- 13:20 Work in Progress – The Singular Life of Albert Nobbs by Simone Benmussa, Drama Studies Students, UCD – Liguori House, Main Entrance


1330-1520 Panel Sessions 1

1.1 Inter-cultural and Performance

Chair: Cathy Leeney

Noelia Ruiz (UCD): “Devising Theatre and Performance: A Collaborative Form.”

Eric Weitz (TCD): “ Who’s Laughing Now? Currents of humour in African-Irish theatre.”

Sharon Phelan (IT Tralee) : “ Irish Dance: Intercultural Perspectives.”

Finola Cronin (UCD): “Dancing, Difference and Identity: Multicultural processes in contemporary dance practices.”


1.2 Marina Carr

Chair : Melissa Sihra

Kevin Wallace (UCD): “‘In Love and Darkness we are Dismembered’: The performance of violence and desire in Marina Carr’s By the Bog of Cats and Sarah Kane’s Cleansed.”

Rebecca Wilson (NUIG): “The melodramatic dramaturgy in the work of Marina Carr.”

Monica Insinga (UCD): “Ideas of martyrdom of mediocrity and the double in Marina Carr’s Woman and Scarecrow.”

Anne F. O’Reilly (St. Patrick’s College): “ A Pietà de Résistance: A feminist exploration of the use of Christian symbolism in the staging of Marina Carr’s Woman and Scarecrow.”


1.3 Performing the Peace Process

Chair: Anna McMullan

Eva Urban (UCD): “Caricaturing Iconographies or Puppet Masters out of control in Tim Loane’s To be Sure or How to count chickens when they come home to roost and Caught Redhanded or How to prune a Whin Bush.”

Mark Phelan (QUB): “‘Parody of Esteem!’: Political Comedy and the Peace Process.”

Lisa Fitzpatrick (UU): “ Remembering to Forget: Post-Ceasefire Theatre in Northern Ireland.”

Brenda Liddy : “Performing the Peace Process in Anne Devlin’s After Easter.”


1.4 Performance Conditions

Chair : Bernie Sweeney

Steve Wilmer (TCD): “Performing Antigone in the Twenty-first Century.”

Kurt Taroff (QUB): “The Other French Neo-classicism: French Reinterpretations of Greek Myth: 1920-1960.”

Caroline Phelan (TCD): “Female Representation in Nineteenth Century Italian Opera.”

Hiroko Mikami ( Waseda University): “Curtains in Contexts: W. B. Yeats’s Early Plays.”


1540-1640 “Friel and Directors: Tyrone Guthrie and Hilton Edwards” by Professor Tony Roche, University College Dublin


1730-1900 Launch of Irish Theatre International- Abbey Theatre (TBC)


Saturday 5 April 2008

0900-1040 Panel Sessions 2

2.1 Postmodern/Postdramatic

Chair : Paul Murphy

Ian Walsh (UCD): “Anticipating the Postdramatic: Jack Yeats’s La La Noo.”

Mária Kurdi ( University of Pécs): “Text as Context: Aspects of Postdramatic Theatre in Elizabeth Kuti’s Work.”

Marilena Zaroulia (UCD): “Contextualising Reception: Martin McDonagh in Athens (via London); a Question of Belonging.”


2.2 Performances Abroad

Chair : Lisa Fitzpatrick

Ioanna Papageorgiou ( University of London and University of Patras, Greece): “ Oscar Wilde’s Salomé on the stage of Athens (1908-1940).”

Brigitte Bastiat ( University of La Rochelle-Irish Studies Research Group at the University of Rennes 2 (CEI: Centre d’études irlandaises)): “The Plough and the Stars by Sean O’Casey: A Collective Experience led in 2007 by the Amateur Theatre Group ‘Les Chantiers’ of the ‘Théâtre Toujours à l’Horizon’, La Rochelle, France.”

Ondrej Pilny ( Charles University, Prague): “Irish Drama and Theatre in the Czech Republic, 2000-2007.”

Debora Biancheri (University of Pisa & Centre for Irish Studies, NUIG): “ McDonagh’s exportation to Italy: the blurred line between laughter and tragedy in The Lieutenant of Inishmore .”


2.3 Amateur Theatre

Chair: Patrick Burke

Shelley Troupe (NUIG): “ The Dublin Jewish Dramatic Society.”

Lisa Coen (TCD) : “The Tuam Theatre Guild, in the 1950s.”

Fiona Brennan (UCC): “Facilitating the Dramatic Dream: The Establishment of the Kerry Drama Festival in 1943.”


1100-1230 Panel Sessions 3

 3.1 Pageantry and Circus

Chair : Enrica Cerquoni

Holly Maples ( University of East Anglia): “Parading Multicultural Ireland: Identity Politics and National Agendas in the 2007 St. Patrick’s Festival.”

Joan FitzPatrick Dean (University of Missouri-Kansas City): “Pageantry in the 1950s.”

Grainne McArdle (Independent Scholar): “ Phillip Astley and the early circus in Ireland.”


3.2 Early Performance Tradition

Chair: Steve Wilmer

Velma O’Donoghue Greene (TCD): “Wild(e) Imaginings in The Extraordinary Play (1924) by Geraldine Cummins and Hester Travers Smith (nee Dowden).”

Mary Caulfield (TCD): “ Blind Spot:Uncovering the gaps and ruptures in Irish cultural representations of women”

Irina Ruppo Malone (NUIG): “The Irish Enemy of the People.”


3.3 Narrative

Chair: Patrick Lonergan

Marie Kelly (UCD): “ Performing Stories: Tom Mac Intyre’s theatre as a gateway to consciousness.”

Iris Park (UCD) : “ Storytelling and Stage Monologue – where one ends and the other begins.”

Susanne Colleary : “Narrative Matters: Story, Narrative and the Joke Art of Irish Stand Up Comedian Tommy Tiernan: A Performance Analysis.”


1230 -1300 Lunch


1315 Celebration of Bernadette Sweeney’s new book Performing the Body in Irish Theatre (Palgrave 2008)


1330-1430 Annual General Meeting


1430-1600 Panel Sessions 4

 4.1 Beckett

Chair: Eric Weitz

Everett Frost (NYU): “Word Man meets Note Man: Directing Samuel Beckett’s Words and Music.”

Matthew Causey (TCD): “ Staging the Televisual Beckett.”


4.2 Performance Contexts

Chair: Maria Kurdi

Patrick Lonergan (NUIG): “ ‘If the Irish Know One Thing….’: Marie Jones’s Stones in His Pockets.”

Kevin Kerrane ( University of Delaware): “Billy Roche’s The Cavalcaders: A Performance History.”

Alyson Campbell (QUB): “It ain’t over ’til …?”


4.3 Spaces of Performance

Chair: Finola Cronin

Bernadette Sweeney (UCC): “ Performing Landscape: a collaboration with stalker dance theatre, Sydney.”

Gabriella Calchi Novati (TCD): “Feminine Abject and Irish Gaze: Amanda Coogan’s Performance Art.”

Rosalind Haslett (UU): “What’s in a name?: From ‘literary manager’ to ‘dramaturg’ in U. K. theatre.”


4.4 Performance Representations

Chair: Tom Maguire

Carmen Szabo (UCD): “Suspended Between Human and Machine – Representations of the Post-Human in Performances by Stelarc and Operating Theatre.”

Enrica Cerquoni (UCD): “‘Staging the Invisible: Images of Woman and Space in Anne Devlin’s After Easter’

Sheila McCormick (NUIG) “Catharsis or Mythification? Verbatim Theatre and the Performance of Trauma”