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The Methuen Drama Guide to Contemporary Irish Playwrights
The Methuen Drama Guide to Contemporary Irish Playwrights is an authoritative guide to the work of twenty-five playwrights from the last 50 years whose work has helped to shape and define Irish theatre. Written by a team of international scholars, it provides an illuminating survey and analysis of each writer's plays and will be invaluable to anyone interested in, studying or teaching contemporary Irish drama. The playwrights examined range from John B. Keane, Brian Friel and Tom Murphy, to the crop of writers who emerged in the 1990s and who include Martin McDonagh, Marina Carr, Emma Donoghue and Mark O'Rowe. Each essay features: a biographical sketch and introduction to the playwright a discussion of their most important plays an analysis of their stylistic and thematic traits, the critical reception and their place in the discourses of Irish theatre a bibliography of texts and critical material With a total of 190 plays discussed in detail, over half of which were written during the 1990s and 2000s, The Methuen Drama Guide to Contemporary Irish Playwrights is unrivalled in its study of recent plays and playwrights.
Irish Women Writers
Irish women writers have a large following, and their works are attracting large amounts of scholarly and critical attention. Through roughly 75 alphabetically arranged entries written by more than 35 expert contributors, this reference overviews the lives and works of Irish women writers active in a range of genres and periods. Each entry includes a brief biography, a discussion of major works and themes, a survey of the writer's critical reception, and a list of works by and about the author. The volume closes with a selected, general bibliography. Ireland has an especially lively literary tradition, and works by Irish writers have long been recognized as interesting and influential. While...
The Art of Experience
The Art of Experience provides an interdisciplinary analysis of selected plays from Ireland’s premier female playwright, Marina Carr. Dagmara Gizło explores the transformative impact of a theatrical experience in which interdisciplinary boundaries must be crossed. This book demonstrates that theatre is therapeutic and therapy is theatrical. The role of emotions, cognitions, and empathy in the theatrical experience is investigated throughout. Dagmara Gizło utilises the methodological tools stemming from modern empirically grounded psychology (such as cognitive-behavioural therapy or CBT) to the study of theatre’s transformative potential. This book will be of great interest to students and scholars of theatre, performance, and literature, and will be a fascinating read for those at the intersection of cognitive studies and the humanities.
Performing the Body in Irish Theatre
This title examines the representation of the body in Irish theatre alongside the specific circumstances within which Irish theatre is performed, incorporating issues of gender and embodiment, and the performance of Irishness and tradition. The author contextualizes the body in Irish theatre, and includes in-depth analysis of five key productions.
Theatre on Trial
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Marina Carr
This book locates the theatre of Marina Carr within a female genealogy that revises the patriarchal origins of modern Irish drama. The creative vision of Lady Augusta Gregory underpins the analysis of Carr’s dramatic vision throughout the volume in order to re-situate the woman artist as central to Irish theatre. For Carr, ‘writing is more about the things you cannot understand than the things you can’, and her evocation of ‘pastures of the unknown’ forms the thematic through-line of this work. Lady Gregory’s plays offer an intuitive lineage with Carr which can be identified in their use of language, myth, landscape, women, the transformative power of storytelling and infinite energies of nature and the Otherworld. This book reconnects the severed bridge between Carr and Gregory in order to acknowledge a foundational status for all women in Irish theatre.
Beckett and Nature
New analyses on the insightful ways in which Beckett's work actively engages with contested notions of Nature and the natural, developing a radical version of modernism's main questions and insights. Beckett and Nature takes its cue from contemporary developments in Beckett scholarship focused on ecocriticism, posthumanism, and the Anthropocene, going beyond them into a questioning of the very concepts of “Nature” and “the natural.” It examines one of the most unthought ontological dimensions of literature and life: that symbolic space, deemed natural or part of Nature, appears necessary and undeniable and, therefore, impossible to be deconstructed. In doing so, the authors show that...
The Semiotics of Beckett's Theatre
Semiotics is an interdisciplinary field of research and Beckett s theatre is one which engages a large spectrum of subjects and concerns that touch upon multiple aspects of human experience. The Beckettian dramatic text, as shall be demonstrated in this book, is a fertile ground for a semiotic investigation that is orchestrated by the profound insights of C. S. Peirce. As it applies semiotics to Beckett s theatre, this book seeks to preserve, communicate and throw into relief those universal values in the playwright s works which remain unchallenged despite every change and every revolution in human societies. What this book will hopefully contribute to the general canon of theatrical studies is its study of the Beckettian dramatic text not as a model of the absurd tradition, but rather as a cultural product whose writer's thinking can scarcely be dissociated from the cultural environment within which it took shape, and whose deciphering requires the use of cultural codes and sub-codes which will undergo detailed examination in the course of analysis, a study that we may so generically call a cultural semiotic study of Beckett.
Performing Embodiment in Samuel Beckett's Drama
The representation and experience of embodiment is a central preoccupation of Samuel Beckett’s drama, one that he explored through diverse media. McMullan investigates the full range of Beckett’s dramatic canon for stage, radio, television and film, including early drama, mimes and unpublished fragments. She examines how Beckett’s drama composes and recomposes the body in each medium, and provokes ways of perceiving, conceiving and experiencing embodiment that address wider preoccupations with corporeality, technology and systems of power. McMullan argues that the body in Beckett’s drama reveals a radical vulnerability of the flesh, questioning corporeal norms based on perfectible, autonomous or invulnerable bodies, but is also the site of a continual reworking of the self, and of the boundaries between self and other. Beckett’s re-imagining of the body presents embodiment as a collaborative performance between past and present, flesh and imagination, self and other, including the spectator / listener.
Samuel Beckett's Endgame and Hungarian Opening Gambits
The focus of this book is twofold: first, Samuel Beckett's Endgame, its genesis and post-publication development, and second, the reception of his dramas in Hungary. There are, of course, overlaps between the two topics, for example, György Kurtág's Fin de partie opera, István Paál's first stage direction of Endgame in Hungary, or Gábor Zsámbéki's TV-recording of the play, which preceded the stage premiere. However, the real bonding agent of the book is the dramaturgy and theatricality of Beckett's work, whether it be unpublished manuscript fragment, full length play or Beckett-staging in scope. This book intends to present Beckett-productions that were the first in one way or another...
