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Mapping Irish Theatre
Seamus Heaney once described the 'sense of place' generated by the early Abbey theatre as the 'imaginative protein' of later Irish writing. Drawing on theorists of space such as Henri Lefebvre and Yi-Fu Tuan, Mapping Irish Theatre argues that theatre is 'a machine for making place from space'. Concentrating on Irish theatre, the book investigates how this Irish 'sense of place' was both produced by, and produced, the remarkable work of the Irish Revival, before considering what happens when this spatial formation begins to fade. Exploring more recent site-specific and place-specific theatre alongside canonical works of Irish theatre by playwrights including J. M. Synge, Samuel Beckett and Brian Friel, the study proposes an original theory of theatrical space and theatrical identification, whose application extends beyond Irish theatre, and will be useful for all theatre scholars.
eBook
The Cambridge Companion to Twentieth-Century Irish Drama
The essays in this collection cover the whole range of Irish drama from the late nineteenth-century melodramas which anticipated the rise of the Abbey Theatre to the contemporary Dublin of theatre festivals. A team of international experts from Ireland, the UK, the USA and Europe provide individual studies of internationally known playwrights of the period of the Literary Revival - Yeats, Synge, Lady Gregory, Shaw, Wilde, O'Casey - and contemporary playwrights Brian Friel, Tom Murphy, Frank McGuiness and Sebastian Barry, in addition to emerging playwrights such as Martin McDonagh and Marina Carr. Further to studies of individual playwrights the collection also includes examination of the relationship between the theatre and its political context as this is inflected through its ideology, staging and programming. With a full chronology and bibliography, this collection is an indispensable introduction to one of the world's most vibrant theatre cultures.
eBook
“Did That Play of Mine …?”: Theatre, Commemoration and 1916
Abstract
W.B. Yeats’s question ‘Did that play of mine send out/Certain men the English shot?’ from ‘The Man and the Echo’ (1938), speculatitively postions his play, Cathleen ni Houlihan (1902), as the driving force behind the Easter Rising of 1916. While theatre was a powerful factor in creating the cultural-politial climate which gave birth to the Rising, Yeats’s question disingenously gives his play an exclusive influence on events when other playwrights, specifically Patrick Pearse and Thomas MacDonagh, who actually led the Rising, had a far better claim to being its dramatic inspiration. This article considers the theatrical influences on the Rising, examining Cathleen ni Houlihan and other plays of the period, and outlines the production history of Yeats’s play as an indication of its post-Rising status, comparing it to that of Sean O’Casey’s play about the Rising, The Plough and the Stars (1926).
Journal Article
(Dis)Embodied Professionalisms: Doctors & Scientists in U.S. Literature, 1895–1935
The United States of America was founded upon patriarchal, white supremacist, and capitalist ideologies that have been concealed from the eyes of the world. (Dis)Embodied Professionalisms offers a viewpoint from which to see and understand how these traditions were mythologized during the late-nineteenth and early-twentieth centuries in the modern professions and its representative identity: the doctor-scientist. His professionalization consolidated the power-knowledge of the gaze into an ideal figure of disembodied masculine rational and scientific authority premised on a visual epistemology.Through close readings of four novels written by Harold Frederic, Charles W. Chesnutt, Sinclair Lewis, and F. Scott Fitzgerald during a crucial period of social transformation and uncertainty, this dissertation reveals how the paradox of disembodied professionalism culminated in a failed embodiment of authority. Through ocularcentric metaphors of the modern profession of scientific medicine, these writers articulate and elide the promise, ambivalence, and ultimate impossibility of what this dissertation calls the myth of professionalization and, thus, of the hegemony of traditional hierarchies.
Dissertation
Irish Studies and the Adequacy of Theory: The Case of Brian Friel
Postcolonial theory is both the most frequently asserted and consistently disputed means of reading contemporary Ireland's literature and culture, central to which has been the contribution of the Field Day Theatre Company and its one-time senior director, Brian Friel and his play Translations. While acknowledging the limitations of some readings of Friel through a lens informed by postcolonial theory, the article utilizes the writings of critics such as Ashis Nandy, Aijaz Ahmad, Homi Bhabha, and Fredric Jameson to read Friel's work as providing a sophisticated critique of Ireland's postmodern moment in which the deprivations of colonialism have been replaced by the force of global capitalism which can, in Anne McLintock's phrase, 'have an impact as massive as any colonial regime'.
Journal Article
'SAVED IN THE MAN AND IN THE NATION': THE SACRALIZATION OF THE SOIL IN TWENTIETH-CENTURY IRISH DRAMA
Writing in the founding years of the Irish state Daniel Corkery observed that the land was a 'huge force in Irish life' and constituted one of the three elements which made up 'the Irish national being'. But while sacralised in the period of the Literary Revival as the 'hidden spring' from which the Irish nation drew its 'vitality', allegiance to the land has also been seen as a limitation. Working through plays from The Land (1905) to After Easter (1994) this article focuses on the dramatisation of responses to the demand to 'stay on the land and you'll be saved body and soul' as Ireland experiences the physical and psychological deracination consequent upon globalisation.
Journal Article
Our Revels Now are Ended
In 2003Irish University Reviewpublished a special issue on the Irish Literary Revival. Featuring the work of ‘an emerging generation of cultural critics’, the gathered essays offered ‘new scholarship’ and ‘new perspectives’ on the Revival, one of the most significant moments in Irish literary history (Kelleher, 2003: viii). Adrian Frazier’sIrish Timesreview acknowledged the quality of the collection but expressed surprise at the apparent consensus among the contributions, along with the absence of committed dispute and debate. Frazier’s criticisms return us to the origins of Irish Studies in Britain, a moment when ‘academic wars’ raged and ‘theory’, new
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