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Marie Jones is one of the most prolific and popular writers working in Northern Irish theatre today. Her work has achieved local relevance and international recognition. In the course of a remarkable career now spanning five decades, Jones has been an actor, playwright, and screenwriter; she also helped to establish two major Irish theatre companies (Charabanc and DubbelJoint) as well as playing a major role in theatre-in-education through her plays for Replay Productions. From her earliest work with Charabanc in the early 1980s to the present day, Jones's work has engaged with Irish (and, more often than not, specifically Northern Irish) experience in ways that reveal the extent to which the personal is political in a distinctive form of popular theatre. This volume of essays engages critically with Jones's oeuvre, her reception in Ireland and beyond, and her position in the canon of contemporary drama.

This new critical edition collects together for the first time in one volume selected original arrangements of the world-famous Irish Melodies for solo voice and duet along with other successful English-language songs to texts by Moore and foreign-language settings by Schumann, Mendelssohn, Berlioz and Duparc.

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.

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.

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.

This work connects productions of plays by Ibsen and Chekhov with adaptations made by contemporary Irish playwrights, demonstrating the significance of international influence for the national canon.

A useful and provocative book that collects the diverse and related practices of theatre makers and theatre professionals deserving of greater attention from artists, teachers and scholars. (Willie White, Director of Dublin Theatre Festival and President of IETM)Radical Contemporary Theatre Practices by Women in Ireland is an important contribution to the fields of Irish theatre and performance studies, and gender and performance in Ireland. The essays and interviews explore the work of women directors, designers, and playwrights on both sides of the Irish Border, who are currently shaping theatre practice on the island. By gathering such an impressive range of material, Mária Kurdi and Miriam Haughton have produced a collection that offers a snapshot of radical practice on the Irish stage in the early 21st century. (Lisa Fitzpatrick, Senior Lecturer in Theatre, University of Ulster)

Devised Performance in Irish Theatre: Histories and Contemporary Practice is the first collection to focus exclusively on devised theatre throughout the island of Ireland by bringing together a range of perspectives from both academics and practitioners. It situates the histories and contemporary practice of devised performance in the Irish theatre, responding to a decisive shift in the working approach of several prominent emerging companies including ANU Productions, Brokentalkers, THEATREclub, and THISISPOPBABY. This collection takes a historical approach that demonstrates how this contemporary surge of work builds on a physical and dance theatre movement in Irish theatre that began to coalesce in the 1990s through the work of companies like Barabbas, Macnas, Blue Raincoat, and Pan Pan which was in turn influenced by earlier community arts practice on the island of Ireland beginning in the late 1970s. Devised Performance in Irish Theatre makes visible a uniquely Irish body of work that will also further international understandings of devised performance as collaborative process and working methodology.

This book analyses the relationship between Ancient Rome and Shakespeare across his histories, tragedies and comedies.

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.

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.

Sullied Magnificence: The Theatre of Mark O'Rowe is a collection of essays that combines the voices of Mark O'Rowe's collaborators and critics with analysis by leading academics. It examines the role of the actor and director in monologue theatre. It questions the use of violence in O'Rowe's films and plays. It explores influences and inspirations, and provides a thorough introduction to the work of one of Ireland's most unique theatrical voices. It also takes a brief look at O'Rowe's work for film, as both writer and director, and the crossover effect this work has had on his plays.

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

The Gate Theatre is one of Ireland's major theatres. It has plays by such figures as Brian Friel, Conor McPherson, and Denis Johnston - while also premiering significant works including unjustly-neglected female dramatists such as Mary Manning, Christine Longford, and Maura Laverty. It is the very first scholarly essay collection devoted to it.

As well as providing a very readable and comprehensive study of the life and music of John Buckley,¿Constellations also offers an up-to-date and informative catalogue of compositions, a complete discography, translations of set texts and the full libretto of his chamber opera, making this book an essential guide for both students and professional scholars alike.

Lecture proceedings including the essence of theatre; Ireland's contribution to the art of theatre; the potential of drama in the classroom; the relationship between drama and film; and on opera and its history.

Poems 2000-2005 is a transitional collection written while the author - also known to be W. J. Me Cormack, literary historian - was in the process of moving back from London to settle in rural Ireland. It is also a vigorous contribution to the age-old dialogue between Sacred and Profane themes, questioning beliefs and pleasures, guilts and landscapes, poetic methods and prosaic realities.

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.

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.

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.

As Ireland changes, how should we think about the works of familiar figures - writers like Synge, O'Casey, Friel, Murphy, Carr and McGuinness? Is the distinction between popular and literary drama tenable in a Celtic Tiger Ireland where the arts and economics are becoming increasingly intertwined.