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Brian Friel's Dramatic Artistry makes an important contribution to our understanding of the work of Ireland's greatest living playwright. The fifteen essays collected here provide us with new perspectives on Friel's most familiar works.

The central subject of the play is the quest a character at the point of emotional and moral breakdown for some source of meaning or identity.

With contributions from leading scholars and practitioners, Interactions explores and celebrates the Dublin Theatre Festival's achievements since 1957 featuring essays on major Irish writers, directors and theatre companies, as well as the impact of visiting directors and companies from abroad.

Since the late 1970s there has been a marked internationalization of Irish drama, with individual plays, playwrights, and theatrical companies establishing newly global reputations. This book reflects upon these developments, drawing together leading scholars and playwrights to consider the consequences that arise when Irish theatre travels abroad. Essays discuss some of Ireland¿s major theatre companies ¿ Druid, the Abbey Theatre, Rough Magic, Blue Raincoat, Field Day and others ¿ while also exploring the presence of Irish drama in the UK, the USA, Germany, and throughout Ireland. The volume also presents the views of key playwrights, featuring essays by Elizabeth Kuti and Ursula Rani Sarma, and including a new interview with Enda Walsh.

In this fascinating reappraisal of the non-literary drama of the late 19th - early 20th century, Christopher Fitz-Simon discloses a unique world of plays, players and producers in metropolitan theatres in Ireland and other countries where Ireland was viewed as a source of extraordinary topics at once contemporary and comfortably remote.

In Synge and the Making of Modern Irish Drama, Anthony Roche draws on twenty-five years of engagement with Synge's plays to present ten chapters on the unfolding of a double narrative. It will be of considerable interest to students of Irish drama both in Ireland and worldwide.

Ireland on Stage: Beckett and After, a collection of ten essays on contemporary Irish theatre, focuses primarily on Irish playwrights and their works, both in text and on the stage, in the latter half of the twentieth century.

The essays incorporated into this volume share an ambitious interest in investigating death as an individual, social and metaphorical phenomenon that may be exemplified by themes involving burial rituals, identity, and commemoration.

A frank, honest, and probing account of a much commented upon and controversial period in the history of the national theatre. These diaries provide fascinating personal insights into the day to day pressures, joys, and frustrations of running one of Ireland's most iconic institutions.

This informative and incisive collection of essays sheds new light on the literary interrelations between Ireland, Hungary, Poland, Romania, and the Czech Republic. It charts an under-explored history of the reception of modern Irish culture in Central and Eastern Europe and investigates how key authors have been translated, performed, and adapted.

Modern Death is written in the form of a symposium, in which a government agency brings together a group of experts to discuss a strategy for dealing with an ageing population.

This book presents an analysis of more than 30 plays written by Irish dramatists and poets that are based on the tragedies of Sophocles, Euripides and Aeschylus. These plays proceed from the time of Yeats and Synge through MacNeice and the Longfords on to many of today's leading writers.

Billy Roche - musician, actor, novelist, dramatist, screenwriter - is one of Ireland's most versatile talents. This anthology, the first comprehensive survey of Roche's work, focuses on his portrayal of one Irish town as a microcosm of human life itself, elemental and timeless.

The book records and interprets key musical developments, appraises the work of major contributors, and captures the activities of all at St Patrick's College up to its incorporation into Dublin City University in 2016. It represents a major scholarly work that details the progress of music at a university college in Ireland

The book records and interprets key musical developments, appraises the work of major contributors, and captures the activities of all at St Patrick's College up to its incorporation into Dublin City University in 2016. It represents a major scholarly work that details the progress of music at a university college in Ireland

Irish theatre has never been so successful, and this book provides necessary assessment of the key playwrights, directors and others involved in making this possible.

A collection of essays focusing on a variety of alternative performances happening in contemporary Ireland. While it highlights the particular representations of gay and lesbian identity it also brings to light how diversity has always been a part of Irish culture and is, in fact, shaping what it means to be Irish today.

The year 2009 was the centenary of the death of John Millington Synge, one of the world¿s great dramatists. To mark the occasion, this book gathers essays by leading scholars of Irish drama, aiming to explore the writers and movements that shaped Synge, and to consider his enduring legacies. Essays discuss Synge¿s work in its Irish, European and world contexts ¿ showing his engagement not just with the Irish literary revival but with European politics and culture too. The book also explores Synge¿s influence on later writers: Irish dramatists such as Brian Friel, Tom Murphy and Marina Carr, as well as international writers like Mustapha Matura and Erisa Kironde. It also considers Synge¿s place in Ireland today, revealing how The Playboy of the Western World has helped to shape Ireland¿s responses to globalisation and multiculturalism, in celebrated productions by the Abbey Theatre, Druid theatre, and Pan Pan theatre company.Contributors include Ann Saddlemyer, Ben Levitas, Mary Burke, Paige Reynolds, Eilís Ní Dhuibhne, Mark Phelan, Shaun Richards, Ondvrej Piln¿y, Richard Pine, Alexandra Poulain, Emilie Pine, Melissa Sihra, Sara Keating, Bisi Adigun, Adrian Frazier and Anthony Roche.

Multiple productions and the international successes of plays like The Weir have led to Conor McPherson being regarded by many as one of the finest writers of his generation. McPherson has also been hugely prolific as a theatre director, as a screenwriter and film director, garnering many awards in these different roles.In this collection of essays, commentators from around the world address the substantial range of McPherson¿s output to date in theatre and film, a body of work written primarily during and in the aftermath of Ireland¿s Celtic Tiger period. These critics approach the work in challenging and dynamic ways, considering the crucial issues of morality, the rupturing of the real, storytelling, and the significance of space, violence and gender. Explicit considerations are given to comedy and humour, and to theatrical form, especially that of the monologue and to the ways that the otherworldly, the unconscious and the supernatural are accommodated dramaturgically, with frequent emphasis placed on the specific aspects of performance in both theatre and film.

This book is an insight into Ireland's only arthouse theatre from the people who were there. Through interviews, articles, short memoirs and photographs, the book tracks the theatre from its inception, detailing the period under its founder Deirdre O'Connell and then the period following Joe Devlin's arrival as its new artistic director.

Articles: «The Cries of Pagan Desperation»: Synge, Riders to the Sea and the Discontents of Historical Time by Christopher Collins; Scenographic Interactions: 1950s Ireland and Dublin's Pike Theatre by Siobhan O'Gorman; Uneasy Bedfellows: Culture, Commerce and the Rise of the «Production Hub» Paradigm in Irish Theatre by Lisa Fitzgerald; Respond or Else: Conor MacPherson's The Weir at the Donmar Warehouse by Eamonn Jordan; Gay Masculinities in Performance: Towards a Queer Dramaturgy by Cormac O'Brien; Perform, or Else! Reflections from an Irish theatre maker by Neil Watkins.

Humour claims no ideological affiliation - its workings merit inspection in any and every individual case, in light of the who, what, where and when of a joke, including the manner of performance, the socio-cultural context, the dynamic amongst participants, and who knows how many other factors particular to the instance. There are as many insights to be gained from the deployment of humour in performance as people to think about it - so herein lie a healthy handful of responses from a variety of perspectives.For the Sake of Sanity: Doing things with humour in Irish performance assembles a range of essays from practitioners, academics, and journalists, all of whom address the attempt to make an audience laugh in various Irish contexts over the past century. With a general emphasis on theatre, the collection also includes essays on film, television and stand-up comedy for those insights into practice, society and culture revealed uniquely through instances of humour in performance.

Thomas Kilroy¿s long and distinguished career is celebrated in this volume by new essays, panel discussions and an interview, reconsidering the work of one of Ireland¿s most intellectually ambitious and technically imaginative playwrights. Contributors are drawn from both the academic and theatrical spheres, and include Nicholas Grene, Wayne Jordan, Patrick Mason, Christopher Murray and Lynne Parker.This volume follows Kilroy¿s own practice of connecting the creative and the critical, and publishes for the first time an extract from his play «Blake». Illustrated with photographs from major productions, this book also reproduces previously unseen materials from the Thomas Kilroy Collection held in the James Hardiman Library, NUI Galway.

This book explores the marvellously textured and complex nature of Blue Raincoat Theatre's work, set design, costumes and lighting, revealing the magic that results from their unique style of theatre making.

This collection of seven plays show that there is no singular Focus Theatre play or playwright, including various styles from monologues on New York, 2001 to the fantastical world of Lewis Carroll.

This book aims to provide a comprehensive, but succinct analysis of the tragedies and comedies written by Greek and Roman dramatists. The book is comprehensive in the ways it deals not just with Greek tragedy of the fifth century BCE, but also with Seneca's tragedies of the first century CE.

In this edition, the first in which all Beethoven's Irish folksong settings are published together, the late baritone, broadcaster and musicologist, Tomas O Suilleabhain, selected texts, mostly by Burns and Moore, which he felt were more appropriate to the airs and to Beethoven's settings.