Editors: Jordan, Eamonn, Weitz, Eric
This Handbook offers a multiform sweep of theoretical, historical, practical and personal glimpses into a landscape roughly characterised as contemporary Irish theatre and performance. Bringing together a spectrum of voices and sensibilities in each of its four sections — Histories, Close-ups, Interfaces, and Reflections — it casts its gaze back across the past sixty years or so to recall, analyse, and assess the recent legacy of theatre and performance on this island. While offering information, overviews and reflections of current thought across its chapters, this book will serve most handily as food for thought and a springboard for curiosity. Offering something different in its mix of themes and perspectives, so that previously unexamined surfaces might come to light individually and in conjunction with other essays, it is a wide-ranging and indispensable resource in Irish theatre studies.
https://www.palgrave.com/gp/book/9781137585875
Table of contents (46 chapters)
-
Introductions/Orientations
Pages 1-28
-
The Mainstream: Problematising and Theorising
Pages 31-44
-
The Theatre Royal: Dublin
Pages 45-49
-
The Politics of Performance: Theatre in and about Northern Ireland
Pages 51-67
-
The Literary Tradition in the History of Modern Irish Drama
Pages 69-83
-
#WakingTheFeminists
Pages 85-91
-
Live Art in Ireland
Pages 93-112
-
Gestures of Resistance: Dance in 1990s Ireland
Pages 113-133
-
Contemporary Theatre in the Irish Language
Pages 135-149
-
Theatre for Young Audiences in Ireland
Pages 151-164
-
Performance in the Community: Amateur Drama and Community Theatre
Pages 165-180
-
Performing Politics: Queer Theatre in Ireland, 1968–2017
Pages 181-199
-
Long Flame in the Hideous Gale: The Politics of Irish Popular Performance 1950–2000
Pages 201-220
-
Other Theatres
Pages 221-232
-
Independent Theatre and New Work
Pages 233-237
-
Funding, Sponsorship and Touring: Causing a Co-Motion
Pages 239-253
-
New Century Theatre Companies: From Dramatist to Collective
Pages 255-268
-
The Joyful Mysteries of Comedy
Pages 271-285
-
The Lambert Theatre and Puppetry Redefined
Pages 287-292
-
Scenic Transitions: From Drama to Experimental Practices in Irish Theatre
Pages 293-308
-
Key Moments and Relationships: Working with Pat Kinevane
Pages 309-313
-
Irish Cinema and Theatre: Adapting to Change
Pages 315-329
-
Actor Training in Ireland Since 1965
Pages 331-340
-
Irish Theatre: A Designer’s Theatre
Pages 341-360
-
Props to the Abbey Prop Man
Pages 361-374
-
Irish Theatre: An Actor’s Theatre
Pages 375-391
-
The Figurative Artist & ÚNA’N’ANU
Pages 393-397
-
Irish Theatre: A Director’s Theatre
Pages 399-413
-
In the Wake of Olwen Fouéré’s riverrun
Pages 415-419
-
Irish Theatre: A Writer’s Theatre
Pages 421-434
-
The Making of Mainstream
Pages 435-441
-
Participatory Performance: Spaces of Creative Negotiation
Pages 443-462
-
Other Spaces (Non-theatre Spaces)
Pages 465-486
-
Irish Plays in Other Places: Royal Court, RSC, Washington and Berlin
Pages 487-499
-
Ripping Up the Original?: Fictional Adaptations in Contemporary Irish Theatre
Pages 501-515
-
Circuitous Pathways: Marina Carr’s Labyrinth of Feminist Form in the US World Premiere of Phaedra Backwards
Pages 517-525
-
Being Intercultural in Irish Theatre and Performance
Pages 527-545
-
Once Upon a Time in the Life of Arambe: A Personal Reflection
Pages 547-554
-
Intercultural Arrivals and Encounters with Trauma in Contemporary Irish Drama
Pages 555-573
-
Dramaturgical Complicity: Representing Trauma in Brokentalkers’ The Blue Boy
Pages 575-580
-
Between the City and the Village: Liminal Spaces and Ambivalent Identities in Contemporary Irish Theatre
Pages 581-598
-
Verse in Twenty-First Century Irish Theatre
Pages 599-613
-
The Gate Theatre on the Road: O’Casey, Pinter and Friel
Pages 615-629
-
Festivals and Curation: What Is a Festival For?
Pages 631-636
-
Interart Relations and Self-Reflexivity in Contemporary Irish Drama
Pages 637-655
-
“Contempt of Flesh”: Adventures in the Uncanny Valley—Stacey Gregg’s Override
Pages 657-663