Ireland, Memory and Performing the Historical Imagination

Lauren Arrington University of Liverpool, UK Joseph Greenwood, Queen's University, Belfast, UK Michael Jaros, Salem State University, USA Nicholas Johnson, Trinity College Dublin, Ireland Aideen Kerr, Trinity College Dublin, Ireland Hélène Lecossois, Université du Maine, France Paul Murphy, Queen's University Belfast, UK Cormac O'Brien, University College Dublin, Ireland Lionel Pilkington, NUI Galway, Ireland Emilie Pine, University College Dublin, Ireland Daniel Sack, University of Massachusetts in Amherst, USA

• Introduction: The Rest is History; Christopher Collins and Mary P. Caulfield PART I: LEGACY AND HERITAGE 1. Walking In and Out of Place: the Pedestrian Performances of Tim Robinson; Daniel Sack 2. A Theatre of the Unword: Censorship, Hegemony, and Samuel Beckett; Nicholas Johnson 3. Re-considering Oscar Wilde's Flamboyant Flop: Vera or The Nihilists; Aideen Kerr 4. Courtly Love and Heroic Death in W.B. Yeats's Cuchulain Cycle of Plays; Paul Murphy 5. '…Whenever the Tale of '98 is told': Constance Markievicz, the National Memory and 'the women of ninety-eight'; Mary P. Caulfield 6. Theatre of Dissent: the Historical Imagination of the Irish Workers' Dramatic Company; Lauren Arrington 7. Staging the Body in Post-independence Ireland; Lionel Pilkington PART II: RECOLLECTION AND REMEMBRANCE 8. Pampooties and Keening: Alternate Ways of Performing Memory in J.M. Synge's Plays; Hélène Lecossois 9. 'Why do you always be singin' that oul' song?': the Subversion of Emigrant Ballads in John B. Keane's Many Young Men of Twenty; Joseph Greenwood 10. Boxed Rituals: Eamon de Valera, Television, and Talbot's Box; Michael Jaros 11. Unblessed Amongst Women: Performing Patriarchy Without Men in Contemporary Irish Theatre; Cormac O'Brien 12. The Abuse of History/a History of Abuse: Theatre as Memory and the Abbey's 'darkest corner'; Emilie Pine 13. Forgetting Follow; Christopher Collins Bibliography Index

"It serves as an excellent addition to the vast field of Irish theatre and performance studies research, and will be of great benefit to anyone with a keen interest in Irish theatre histories and the act of 'remembering' and 're-performing' memory on the Irish stage." (Carole Quigley, New Theatre Quarterly, Vol. 31 (3), August, 2015)