Relevant bibliographies by topics / Irish dramatists

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Irish dramatists'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 August 2024

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Journal articles on the topic "Irish dramatists"

1

Gallagher, S. F., and Michael Etherton. "Contemporary Irish Dramatists." Canadian Journal of Irish Studies 16, no. 1 (1990): 81. http://dx.doi.org/10.2307/25512814.

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Holder, Heidi J., and Michael Etherton. "Contemporary Irish Dramatists." Theatre Journal 42, no. 4 (December 1990): 524. http://dx.doi.org/10.2307/3207743.

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Kealy, Una. "Eileen Kearney and Charlotte Headrick (editors), Irish Women Dramatists 1908–2001." Irish University Review 46, no. 2 (November 2016): 401–4. http://dx.doi.org/10.3366/iur.2016.0239.

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Molony, Martin G. "Nelson Paine, Experimental Theatre, and Puppetry in Ireland, 1942–1952." Estudios Irlandeses, no. 18 (March 17, 2023): 67–78. http://dx.doi.org/10.24162/ei2023-11392.

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In 1942, a young Dublin architect, Nelson Paine, formed the Dublin Marionette Group on foot of an international re-appraisal of the potential of the puppet theatre as a form of expression. This Group became the nucleus of experimental theatre in the Irish capital and influenced several well-known Irish creative artists over the decade of its existence and beyond. It attracted the involvement of actors, artists and dramatists of the period and performed in professional settings, including eight seasons at the Peacock Theatre and for each of the first four years of the Wexford Opera Festival. Th
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Trotter, Mary. "Modern Dramatists: A Casebook of Major British, Irish and American Playwrights (review)." Theatre Journal 54, no. 1 (2002): 175–76. http://dx.doi.org/10.1353/tj.2002.0031.

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Mozetič, Uroš. "The Rack-Brain Pencil-Push of hurt-in-hiding: Translating the Poetry of Seamus Heaney into Slovene." ELOPE: English Language Overseas Perspectives and Enquiries 2, no. 1-2 (June 22, 2005): 277–91. http://dx.doi.org/10.4312/elope.2.1-2.277-291.

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The paper raises the issue of the Slovene possibilities of translating culture-, politics-, and language-specific poetic texts of the Irish author Seamus Heaney. The inquiry has been triggered by the unfavourable response to the poet’s work in Slovenia, which is all the more telling in light of other modern Irish writers, especially dramatists, who have lately gained firm ground and acquired sympathy from the Slovene public. Our comparison of Heaney’s poems with their Slovene translations is, therefore, aimed at elucidating the main reasons for such a tepid response, drawing mainly on a variet
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CLARE, DAVID. "The “Hibernicising” of George Farquhar’s Plays after Irish Independence." Estudios Irlandeses, no. 18.2 (December 18, 2023): 1–10. http://dx.doi.org/10.24162/ei2023-11982.

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Since the establishment of the Irish Free State in 1922, theatres and theatre companies in the twenty-six counties have had an uneasy relationship with the work of Derry-born playwright George Farquhar. This is presumably because Farquhar’s fervent loyalty to the English crown and his “unenlightened” views on religious tolerance – including the frankly sectarian treatment of Catholicism in his later plays – do not sit well with theatremakers who want to rebrand him as a narrowly and uncomplicatedly Irish playwright. While some post-independence productions of Farquhar have subtly and cleverly
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Etherton, Michael. "The Field Day Theatre Company and the New Irish Drama." New Theatre Quarterly 3, no. 9 (February 1987): 64–70. http://dx.doi.org/10.1017/s0266464x00008514.

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In the previous article, the author exempted one company's work from her strictures on the present state of Ulster playwriting. That company was Field Day, based in the town whose very choice of name distinguishes Catholic from Protestant, Derry or Londonderry. Here, Michael Etherton outlines the aims of the company, which extend far beyond the theatrical, and also describes and assesses three plays which, although not all originating from Field Day, seem to him to reflect the distinctive ‘poetic and political view’ which he believes the company has nurtured. Most notable, be believes, is its
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Sierz, Aleks. "‘Me and My Mates’: the State of English Playwriting, 2003." New Theatre Quarterly 20, no. 1 (January 5, 2004): 79–83. http://dx.doi.org/10.1017/s0266464x03000356.

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Since his account of the Birmingham Theatre Conference in NTQ51, Aleks Sierz has taken the temperature of British playwriting in articles about ‘Cool Britannia’ (NTQ56) – from which developed his influential book, In Yer Face Theatre: British Drama Today (Faber, 2001) – ‘Still In-Yer-Face? Towards a Critique and a Summation’ (NTQ69), and a report on the Bristol conference (NTQ73). At a time when more new writing is being staged than probably at any period of British theatre history, here he laments the insular social realism which once more characterizes English (as distinct from Irish, Scotti
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Alghanem, Alanoud Abdulaziz. "Textualizing History in Synge’s Riders to the Sea and O’Casey’s Juno and the Paycock: A Comparative Study." World Journal of English Language 14, no. 1 (December 22, 2023): 520. http://dx.doi.org/10.5430/wjel.v14n1p520.

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In a radical reaction against the idealism and sentimentality of melodrama, a few dramatists in the second half of the nineteenth century shifted the dramaturgy style into what came to be known as realism. This school of thought emphasizes the presentation of life as it is without exaggeration, illusions or artifices. It is evidently reflected in the dramatic works of some playwrights like John Millington Synge and Sean O’Casey who are the main concern of this paper. In this respect, the textualization of history is significantly an important aspect of realist plays. Therefore, this comparativ
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Dissertations / Theses on the topic "Irish dramatists"

1

Box, Carolyn. "Exchanges and innovation : creative collaborations with Shakespeare by British and Irish dramatists, 1970-2010." Thesis, University of Birmingham, 2011. http://etheses.bham.ac.uk//id/eprint/3182/.

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My thesis is an exploration of the collaborations between British and Irish dramatists and Shakespeare over the past forty years. Within its bounds, there exists an extensive collection of innovative works produced in spaces from the community halls of the fringe to the main stages of the national theatres. The dramatists in question write from diverse perspectives. They may inflect elements in the work to counter stereotypes, employ intertextual images to subvert naturalistic scenes, or, alternatively, deploy the dark images inherent in the language in modern tragedies. It is helpful to think
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Riordan, Michael, and n/a. "Terrible Beauty: Ideology and Political Discourse in the Early Plays of Sean O'Casey." Griffith University. School of Humanities, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040615.132200.

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This thesis argues that prominent in the purposes of the dramaturgy of Irish playwright Sean O'Casey was the promotion of his political causes - most notably socialism. In his avidity for the cause of establishing a workers' paradise, following the Soviet model, in Ireland, his ire was drawn to the movements and institutions he perceived as distracting the masses from pursuit of this ideal: republicanism and the Church. These political ideals are prominent themes in his collected works - both fiction and non-fiction. The work is essentially divided into two sections. The first examines the dev
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Riordan, Michael. "Terrible Beauty: Ideology and Political Discourse in the Early Plays of Sean O'Casey." Thesis, Griffith University, 2004. http://hdl.handle.net/10072/367087.

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This thesis argues that prominent in the purposes of the dramaturgy of Irish playwright Sean O'Casey was the promotion of his political causes - most notably socialism. In his avidity for the cause of establishing a workers' paradise, following the Soviet model, in Ireland, his ire was drawn to the movements and institutions he perceived as distracting the masses from pursuit of this ideal: republicanism and the Church. These political ideals are prominent themes in his collected works - both fiction and non-fiction. The work is essentially divided into two sections. The first examines the dev
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4

Pangallo, Matteo A. "“The labor we delight in”: Amateur dramatists in the London professional theaters, 1590–1642." 2012. https://scholarworks.umass.edu/dissertations/AAI3518404.

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In the commercial theaters of early modern London there worked a group of dramatists who, though they wrote for the playmaking industry, were not members of it. Rather than outliers in a unified, closed field of playwriting, they were amateur dramatists, a distinct class of writers who took advantage of the radically open nature of the field of playwriting for professional theaters to supply their own plays to the actors. Their plays require a different set of critical and historical questions than that traditionally used in examining plays by professionals. The reason for this distinction is
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McHugh, Meadhbh. "Black Lyric: Trauma and Poetic Voice in Contemporary Irish Drama." Thesis, 2021. https://doi.org/10.7916/d8-x20m-ys55.

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I argue that lyricism, prevalent on the Irish stage from the inception of the national dramatic theatre tradition, is invoked, subverted, and exhausted by contemporary Irish playwrights. Lyric art had an evident nation-building function on the Irish stage, but the capacities of lyric language also included the expression and containment of painful material that otherwise could not easily be represented or voiced, but which, by the second half of the twentieth century, could not be comfortably repressed. In the period 1960-2010 (from Tom Murphy to Mark O’Rowe), playwrights of national significa
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Johnson, Amy R. "Stranger in the Room: Illuminating Female Identity Through Irish Drama." Thesis, 2007. http://hdl.handle.net/1805/918.

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Thesis (M.A.)--Indiana University, 2007.<br>Title from screen (viewed on May 23, 2007) Department of English, Indiana University-Purdue University Indianapolis (IUPUI) Includes vita. Includes bibliographical references (leaves 82-83)
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Books on the topic "Irish dramatists"

1

Etherton, Michael. Contemporary Irish Dramatists. London: Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-20018-4.

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Etherton, Michael. Contemporary Irish dramatists. London: Macmillan, 1989.

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Etherton, Michael. Contemporary Irish dramatists. Basingstoke: Macmillan Education, 1989.

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Etherton, Michael. Contemporary Irish dramatists. New York: St. Martin's Press, 1989.

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5

John, Bull, ed. British and Irish dramatists since World War II. Detroit, MI: Gale Group, 2001.

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John, Bull, ed. British and Irish dramatists since World War II. Detroit: Gale Group, 2001.

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John, Bull, ed. British and Irish dramatists since World War II. Detroit: Thomson Gale, 2005.

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8

O'Casey, Sean. Les tambours de Dublin. Paris: Le chemin vert, 1987.

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O'Farrell, Ciara A. A playwrights journey: A critical biography of louis D'Alton (1900-1951). Dublin: University College Dublin, 1998.

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tr, Longepierre Christine, ed. Coucher de soleil et étoile du soir. Paris: Belfond, 1996.

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Book chapters on the topic "Irish dramatists"

1

Etherton, Michael. "Dublin and Belfast." In Contemporary Irish Dramatists, 1–62. London: Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-20018-4_1.

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Etherton, Michael. "The Theatre in the West." In Contemporary Irish Dramatists, 63–106. London: Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-20018-4_2.

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Etherton, Michael. "The Plays of Thomas Murphy." In Contemporary Irish Dramatists, 107–46. London: Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-20018-4_3.

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Etherton, Michael. "The Plays of Brian Friel." In Contemporary Irish Dramatists, 147–208. London: Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-20018-4_4.

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Etherton, Michael. "The Plays of Margaretta D’Arcy and John Arden." In Contemporary Irish Dramatists, 209–30. London: Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-20018-4_5.

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Etherton, Michael. "Conclusion." In Contemporary Irish Dramatists, 231–38. London: Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-20018-4_6.

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Carregal-Romero, José. "“He’s Been Wanting to Say That for a Long Time”: Varieties of Silence in Colm Tóibín’s Fiction." In New Directions in Irish and Irish American Literature, 65–86. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-30455-2_4.

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AbstractThis chapter explores the multivalent significance of silence in Colm Tóibín’s fiction, from his debut novel The South (1990) to his collection of stories The Empty Family (2010). The chapter considers Colm Tóibín’s use of silence as an aesthetic practice and key narrative element that foregrounds the tensions between revelation and concealment, emotional release and reticence, as well as the ambiguities between knowing and unknowing, which underlie most of his protagonists’ dilemmas. The analysis pays attention to how Tóibín dramatises sexual taboos and traumas—i.e. familial homophobia and AIDS stigma—through narratives that develop within the domain of personal silences. The chapter thus identifies and assesses a discourse of silence running through Tóibín’s oeuvre, which constructs his characters’ psychology as they navigate personal and social pressures, and attempt to come to terms with their emotional truths.
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McIvor, Charlotte, and Ian R. Walsh. "Nation." In Contemporary Irish Theatre, 165–202. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-55012-6_7.

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AbstractArguably the nation and its many anti-colonial, postcolonial, Troubles-era, post-conflict and early twenty-first-century permutations remain the defining thematic obsession of contemporary Irish theatre. This chapter contributes elucidating frameworks for navigating how contemporary Irish theatre continues to dramatise and negotiate these complex and contested dimensions of the nation from the perspective of past, present and future. The three frameworks and accompanying case studies that model the application of these critical lenses to key theatre productions are: Theatre and the political work of nation-building (Michael West/Corn Exchange’s Dublin By Lamplight), Woman and/as nation (Anne Devlin’s Ourselves Alone), Interrogating national histories through the Irish history play (Frank McGuinness’s Observe the Sons of Ulster Marching Towards the Somme).
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O’Brien, Cormac. "New Century Theatre Companies: From Dramatist to Collective." In The Palgrave Handbook of Contemporary Irish Theatre and Performance, 255–68. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-137-58588-2_17.

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Palmer, Michael. "The Press in Literature and Drama." In The Edinburgh History of the British and Irish Press, Volume 1, 575–85. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781474499170.003.0027.

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The chapter examines the role of dramatists, novelists and essayists in the history of the early press. One of the first dramatists to comment (negatively) on the seventeenth-century print culture was Ben Jonson in News from the New World Discovered in the Moon (1620) and The Staple of News (1626). The chapter also considers the contributions of Henry Fielding, Samuel Richardson, Daniel Defoe, Jonathan Swift, Alexander Pope, Richard Sheridan and Samuel Johnson to the history of periodical news and comment. Some such comment could be highly critical, as was the case with Samuel Johnson. He bemoaned the repetitiveness of press coverage with the words: “Thus journals are daily multiplied without increase of knowledge. The tale of the morning paper is told again in the evening, and the narratives of the evening are bought again in the morning” (The Idler, 1758).
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