This collection of essays showcases the rich diversity of current writing about Irish theatre. The volume includes perspectives from experts in scenography, physical theatre, dramaturgy and stand-up comedy, as well as academic contributions drawing from anthropology, psychology, sociology, gender studies and performance studies. Exploring plays, events, exhibitions, performances, and rehearsal and realization processes, the essays provide a stimulating analysis of the languages and procedures of theatre in Ireland. The book demonstrates that performance studies and practices are continuing to…mehr
This collection of essays showcases the rich diversity of current writing about Irish theatre. The volume includes perspectives from experts in scenography, physical theatre, dramaturgy and stand-up comedy, as well as academic contributions drawing from anthropology, psychology, sociology, gender studies and performance studies. Exploring plays, events, exhibitions, performances, and rehearsal and realization processes, the essays provide a stimulating analysis of the languages and procedures of theatre in Ireland. The book demonstrates that performance studies and practices are continuing to expand, suggesting that Ireland's text-centric theatre has begun to cast its net further afield and pointing to the rich possibilities within Irish theatre, scholarship and practice, now and for the future.
Rhona Trench is Programme Chair of the BA in Performing Arts at the Institute of Technology, Sligo, where she is also Lecturer in Drama Studies and Directing for Theatre. She is Vice President of the Irish Society for Theatre Research. Her publications include Bloody Living: The Loss of Selfhood in the Plays of Marina Carr (Peter Lang, 2010).
Inhaltsangabe
Contents: Thomas Kilroy: Foreword - Rhona Trench: Introduction - Staging Thought: Essays on Irish Theatre, Scholarship and Practice - Frank Conway: The Sound of One Hand Clapping - Rhona Trench: A Blend of Irish and European Theatre Process and Practice: Blue Raincoat Theatre Company's Production of W.B. Yeats's The Cat and the Moon (1926) - Carmen Szabo: Place and Non-Place: Discussing Physicality and Story in Barabbas Theatre Company's Circus (2007) - Agnes Pallai: Cultural Differences in Staging Brian Friel's Translations in Romania - Enrica Cerquoni: Ways of Seeing and the Womb-Theatre: Theatrical Space and Scenic Presentation in Marina Carr's Ariel - Virginie Privas-Bréauté: The Actor's Body as a Heterotopic Language in Bill Morrison's The Marriage - Caoileann Thompson: Irish Theatre Studies in the Performance Age: The Case of Stewart Parker - Eamonn Jordan: 'It Would Never Happen On The Waltons' : Enda Walsh's The Walworth Farce - Eric Weitz: Sleight of Frame: Exploitations of Comic Feeling by Two Irish Playwrights - Suzanne Colleary: 'God's Comic': Narratives of Performed Identity of Irish Stand-Up Comedian Tommy Tiernan - Fiona Fearon: Decoding the Audience: Enda Walsh's Chatroom (2008) - Mary Caulfield: Fashion Advice: Constance Markievicz's 'Unmarked', 'Mismarked' and 'Remarkable' Women - Michael Jaros: Broken Narratives, Performing Ruins: Yeats, Beckett and the Dramatic Landscape of Catastrophe - Christopher Collins: J.M. Synge, W.B. Yeats and The Changeling of the Western World - Shonagh Hill: Female Self-Authorship and Reperformance of the 'Good Death' in Marina Carr's Woman and Scarecrow - Aoife McGrath: 'The Less You Bump, The Faster You Go'?: Staged Scenes of Dissensus in CoisCéim's Dodgems - Steve Wilmer: Theatre and Nation: Performing Statelessness in Ireland and Abroad - Holly Maples: Performing Cultural Trauma: The 1980 'A Sense of Ireland' Festival.
Contents: Thomas Kilroy: Foreword - Rhona Trench: Introduction - Staging Thought: Essays on Irish Theatre, Scholarship and Practice - Frank Conway: The Sound of One Hand Clapping - Rhona Trench: A Blend of Irish and European Theatre Process and Practice: Blue Raincoat Theatre Company's Production of W.B. Yeats's The Cat and the Moon (1926) - Carmen Szabo: Place and Non-Place: Discussing Physicality and Story in Barabbas Theatre Company's Circus (2007) - Agnes Pallai: Cultural Differences in Staging Brian Friel's Translations in Romania - Enrica Cerquoni: Ways of Seeing and the Womb-Theatre: Theatrical Space and Scenic Presentation in Marina Carr's Ariel - Virginie Privas-Bréauté: The Actor's Body as a Heterotopic Language in Bill Morrison's The Marriage - Caoileann Thompson: Irish Theatre Studies in the Performance Age: The Case of Stewart Parker - Eamonn Jordan: 'It Would Never Happen On The Waltons' : Enda Walsh's The Walworth Farce - Eric Weitz: Sleight of Frame: Exploitations of Comic Feeling by Two Irish Playwrights - Suzanne Colleary: 'God's Comic': Narratives of Performed Identity of Irish Stand-Up Comedian Tommy Tiernan - Fiona Fearon: Decoding the Audience: Enda Walsh's Chatroom (2008) - Mary Caulfield: Fashion Advice: Constance Markievicz's 'Unmarked', 'Mismarked' and 'Remarkable' Women - Michael Jaros: Broken Narratives, Performing Ruins: Yeats, Beckett and the Dramatic Landscape of Catastrophe - Christopher Collins: J.M. Synge, W.B. Yeats and The Changeling of the Western World - Shonagh Hill: Female Self-Authorship and Reperformance of the 'Good Death' in Marina Carr's Woman and Scarecrow - Aoife McGrath: 'The Less You Bump, The Faster You Go'?: Staged Scenes of Dissensus in CoisCéim's Dodgems - Steve Wilmer: Theatre and Nation: Performing Statelessness in Ireland and Abroad - Holly Maples: Performing Cultural Trauma: The 1980 'A Sense of Ireland' Festival.
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