Anglo-Irishdrama? Writing for the
stage in Restoration Dublin
Stephen Austin Kelly
The subject of this chapter is the drama written for the Dublin stage in
the reign of Charles II (1660–85).1 Dublin during the Restoration was
a city that enjoyed unprecedented growth and prosperity. It was a hub
of social and cultural activity and had a vibrant literary life. Poetry and
letters circulated in manuscript form and the city’s printers and booksellers supplied literature in print. For those who wished to see literature in
performance, however, the city’s playhouse
The Return of the Hibernian Repressed During
the Rise and Fall of the Celtic Tiger
Whilst debate rages in certain circles as to what constitutes an Irish Gothic tradition
and whether imposing canonical status upon it is even possible or desirable, very little
of this discussion focuses on twenty-first century writing, and certainly not upon writing
for the stage. The aims of this essay are twofold: to argue the case for a contemporary
Irish Gothic theatre school (whose primary proponents I will identify as Martin McDonagh,
Conor McPherson, Marina Carr and Mark ORowe); and to place this contemporary school in
conversation with the Irish Gothic literary corpus identified by the scholarship of Terry
Eagleton, Seamus Deane, W. J. McCormack, Jarlath Killeen, Christopher Morash, Richard
Haslam, Sinéad Mooney and David Punter. The resulting intention here is to open up a fresh
way of reading and comparing contemporary Irish playwrights,that allows us to place their
work into sharper focus when it comes to comparing them to each other as pre-eminent Irish
writers of the millennial period.
This book focuses on the drama and poetry published since 1990. It also reflects upon related forms of creative work in this period, including film and the visual and performing arts. The book discusses some of the most topical issues which have emerged in Irish theatre since 1990. It traces the significance of the home in the poetry of Eiléan Ní Chuilleanáin and Vona Groarke. The book also focuses on the reconfigurations of identity, and the complex intersections of nationality, gender and race in contemporary Ireland. It shows how Roddy Doyle's return to the repressed gives articulation to those left behind by globalisation. The book then examines the ways in which post-Agreement Northern fiction negotiates its bitter legacies. It also examines how the activity of creating art in a time of violence brings about an anxiety regarding the artist's role, and how it calls into question the ability to re-present atrocity. The book further explores the consideration of politics and ethics in Irish drama since 1990. It talks about the swirling abundance of themes and trends in contemporary Irish fiction and autobiography. The book shows that writing in the Irish Republic and in the North has begun to accommodate an increasing diversity of voices which address themselves not only to issues preoccupying their local audiences, but also to wider geopolitical concerns.
From its Nobel laureates to its literary festivals, modern-day Dublin lives up to its role as a literary capital. The question of whether Ireland experienced a cultural and literary Renaissance has received increasing scholarly attention in recent years. This book extends the discussion by engaging with the specific literary culture of its capital city. It begins with an argument for the internationalised literary culture of late medieval Dublin by an analysis of James Yonge's 'Memoriale'. The citizens of Dublin engaged with and actively read texts imported from London, as Dublin's own printing was limited. The book presents case studies that establish Dublin as an emerging city of Renaissance literature by focusing on Edmund Spenser's political and social connections and by examining the literature of complaint emanating from late Elizabethan Dublin. It analyses the constructed authorial personae of Richard Bellings, James Shirley and Henry Burnell residing in Dublin, and discusses the concepts of literary friendship. Sir James Ware's scholarly achievements are analysed and his extensive intellectual community are investigated, revealing an open-minded Dublin community. In addition to being a representative Renaissance activity, translation was harnessed in the country as an 'instrument of state', as shown by translations of Gaelic poetry. The Renaissance literary production in Dublin had a multi-linguistic character with Latin orations taking place in the Trinity College Dublin. The book also addresses the question of whether the English-language drama composed and staged in Restoration Dublin is most accurately described as Anglo-Irish drama or 'English drama written in Ireland'.
Home places: Irishdrama since 1990
Clare Wallace and OndPej PilnM
To appraise Irish theatre of the recent past is an ominous task; to attempt
to predict what might be remembered in the future a treacherous one.
From 1990 to mid-2006 the Irish Playography database lists 842 plays,
devised pieces and adaptations produced in Ireland by Irish theatre companies and other commercial bodies. Since 1990 critical interest in Irish
theatre has grown rapidly, spurred on in part by the Abbey Theatre
centenary in 2004
Foregrounding the body and performance in plays by Gina Moxley, Emma Donoghue and Marina Carr
/quotation).’ Having been imported into social
discourse from the vocabulary of the theatre, the term performance/
performative is nowadays reapplied by theatre and drama studies and
‘implies a self-aware theatricality’, the ‘conscious use of the practices
and conventions of theatre’ and the ‘deliberate manipulation of citation
and reiteration’ as a potential strength of the genre.7
In contemporary Irishdrama, the renaissance of the monologue
signals a self-conscious move towards heightening the performative
element in the exploration of the self, according to revised perspectives
Delving into a hitherto unexplored aspect of Irish art history, Painting Dublin,
1886–1949 examines the depiction of Dublin by artists from the late-nineteenth
to the mid-twentieth century. Artists’ representations of the city have long
been markers of civic pride and identity, yet in Ireland, such artworks have
been overlooked in favour of the rural and pastoral, falling outside of the
dominant disciplinary narratives of nationalism or modernism. Framed by the
shift from city of empire to capital of an independent republic, this book
chiefly examines artworks by of Walter Frederick Osborne (1857–1903), Rose Mary
Barton (1856–1929), Jack Butler Yeats (1871–1957), Harry Aaron Kernoff
(1900–74), Estella Frances Solomons (1882–1968), and Flora Hippisley Mitchell
(1890–1973), encompassing a variety of urban views and artistic themes. While
Dublin is renowned for its representation in literature, this book will
demonstrate how the city was also the subject of a range of visual depictions,
including those in painting and print. Focusing on the images created by these
artists as they navigated the city’s streets, this book offers a vivid
visualisation of Dublin and its inhabitants, challenging a reengagement with
Ireland’s art history through the prism of the city and urban life.
This book explores the development of Robert Lepage’s distinctive approach to stage direction in the early (1984–94) and middle (1995–2008) stages of his career, arguing that globalisation had a defining effect in shaping his aesthetic and professional trajectory. It combines examination of Lepage’s theatremaking techniques with discussion of his work’s effects on audiences, calling on Lepage’s own statements as well as existing scholarship and critical response. In addition to globalisation theory, the book draws on cinema studies, queer theory, and theories of affect and reception. As such, it offers an unprecedented conceptual framework, drawing together what has previously been a scattered field of research. Each of six chapters treats a particular aspect of globalisation, using this as a means to explore one or more of Lepage’s productions. These aspects include the relationship of the local (in Lepage’s case, his background in Québec) to the global; the place of individual experience within global late modernity; the effects of screen media on human perception; the particular affect of ‘feeling global’; the place of branding in contemporary creative systems; and the relationship of creative industries to neoliberal economies. Making theatre global: Robert Lepage’s original stage productions will be of interest to scholars of contemporary theatre, advanced-level undergraduates with an interest in the application of theoretical approaches to theatrical creation and reception, and arts lovers keen for new perspectives on one of the most talked-about theatre artists of the late twentieth and early twenty-first centuries.
The Irish National Theatre, and
its version that found a home at the Abbey Theatre, ‘often
declared its mission … to elevate the Irishdrama, to
banish the stage Irishman from the theatre’ ( Kilroy, 1971 : 19; my
emphasis). 1 Its project can therefore be read as a process of
forgetting. This amnesiac effect was threatened, said contemporary
reviewers and audience
: Site-Specific Art and Locational Identity . London and Cambridge, MA : MIT Press .
Landry , C.
( 2000 ). The Creative City: A Toolkit for Urban Innovator . London and Sterling, VA : Earthscan .
Lonergan , P.
( 2009 ). Theatre and Globalisation: IrishDrama in the Celtic Tiger Era . London and New York : Palgrave Macmillan