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Books on the topic 'IRIS staging'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 February 2022

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Consult the top 21 books for your research on the topic 'IRIS staging.'

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1

Staging thought: Essays on Irish theatre, scholarship and practice. Peter Lang, 2012.

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2

Buffoonery in Irish drama: Staging twentieth-century post-colonial stereotypes. Peter Lang, 2009.

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3

Wetmore, Kevin J. Staging Irish dramas in Japanese theatre: Studies in comparative theatrical performance. The Edwin Mellen Press, 2014.

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4

Steinberger, Rebecca. Shakespeare and twentieth-century Irish drama: Conceptualizing identity and staging boundaries. Ashgate, 2008.

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5

Staging the Easter Rising: 1916 as theatre. Cork University Press, 2005.

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6

Moran, James. Staging the Easter Rising: 1916 as theatre. Cork University Press, 2005.

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7

Irish Drama in Poland: Staging and Reception, 1900-2000. Intellect, Limited, 2016.

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8

Staging Ireland: Representations in Shakespeare And Renaissance Drama. Four Courts Pr Ltd, 2007.

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9

Shakespeare and Twentieth-Century Irish Drama: Conceptualizing Identity and Staging Boundaries. Taylor & Francis Group, 2017.

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10

Shakespeare and Twentieth-century Irish Drama: Conceptualizing Identity and Staging Boundaries. Ashgate Pub Co, 2008.

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11

Staging Intercultural Ireland: New Plays and Practitioner Perspectives. Cork University Press, 2014.

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12

Staging Conventions In Medieval English Theatre. Cambridge University Press, 2014.

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13

Butterworth, Philip. Staging Conventions in Medieval English Theatre. Cambridge University Press, 2018.

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14

Watt, Stephen. The Inheritance of Melodrama. Edited by Nicholas Grene and Chris Morash. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198706137.013.1.

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Although many in the Irish national theatre movement rejected melodrama—‘we will show that Ireland is not the home of buffoonery and easy sentiment’, as Yeats put it—the form continued to be both popular and influential into the twentieth century. This chapter deals with the hugely successful genre of Irish plays associated with figures such as Dion Boucicault, Hubert O’Grady, and J. W. Whitbread, and the impact of the form on later playwrights including O’Casey. It will show that by staging what might be called ‘dramas of exteriority’, melodrama provided a form of theatre capable of social cr

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15

Hurren, Elizabeth T. Dissecting the Criminal Corpse: Staging Post-Execution Punishment in Early Modern England. Palgrave Macmillan, 2016.

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16

Cave, Richard. Modernism and Irish Theatre 1900–1940. Edited by Nicholas Grene and Chris Morash. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198706137.013.9.

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Modernism, defined here initially in its key features across the art forms, was a strong countercurrent to the dominant style of realism in Irish theatre in the first decades of the twentieth century. This is particularly evident in the dance dramas of W. B. Yeats and his other experiments with non-realist dramatic forms. Séan O’Casey, in his controversial playThe Silver Tassieand later works, drew on the bold techniques of expressionism. Denis Johnston, who emerged as a playwright from the 1920s Dublin Drama League, gave the Gate Theatre one of its key early successes inThe Old Lady Says No!.

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17

Pilný, Ondřej. Irish Theatre in Europe. Edited by Nicholas Grene and Chris Morash. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198706137.013.40.

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While Irish drama has achieved a distinctive reputation within the Anglophone world, the situation in continental Europe has been much more complex. Wilde and Shaw continue to be widely revived but are rarely identified as Irish. Even more strikingly, contemporary Irish playwrights such as Martin McDonagh and Enda Walsh, both extremely popular in Europe, are assimilated within a general category of British theatre, while Brian Friel’s work is much less well known. There have been established theatrical traditions of playing some Irish dramatists in individual countries, as in the case of Synge

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18

Reynolds, Paige. Design and Direction to 1960. Edited by Nicholas Grene and Chris Morash. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198706137.013.14.

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Early Abbey staging and design was extremely simple, partly enforced by the limitations of their resources. Yeats’s ambitious experiments with the screens of Gordon Craig came to nothing. Initially, the Gate Theatre was established self-consciously as a theatrical alternative to the Abbey, open to European aesthetics, and concentrated on stage production and design, ideas articulated and exemplified by Micheál Mac Liammóir and Hilton Edwards in their design and direction work. However, the chapter argues that this conventional narrative overlooks the design work of Tanya Moiseiwitsch at the Ab

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19

Allen, Nicholas. Imagining the Rising. Edited by Nicholas Grene and Chris Morash. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198706137.013.11.

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Several of the leaders of the Rising—Patrick Pearse, Thomas McDonagh, and James Connolly—wrote plays, and many were closely engaged in theatrical enterprises (often conceived as alternatives to the Abbey Theatre) in the years leading up to the Easter Rising in 1916. Indeed, there is an argument that Easter 1916 itself was conceived as a public performance, albeit a performance with life-and-death consequences. This chapter considers the theatrical imagination of the Rising and the ways in which the plays of those most directly involved not only engage with issues such as sacrifice, performativ

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20

Shakespeare and the Embodied Heroine: Staging Female Characters in the Late Plays and Early Adaptations. Palgrave Macmillan, 2014.

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21

Leigh, L. Shakespeare and the Embodied Heroine: Staging Female Characters in the Late Plays and Early Adaptations. Palgrave Macmillan, 2014.

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