In small nations such as Ireland and Quebec, theatrical activity has long been a central means by which the nation becomes and remains conscious of itself. Examining the global trajectory, influence, and shifting concerns of contemporary Irish and Quebec theatre, this timely book traces their transformation from nationally rooted dramatic traditions to outward-looking theatrical cultures, shaped by fluid notions of identity, citizenship, and belonging. Jane Koustas shows how these theatres have moved beyond the confines of nationhood, nationalism, and identity politics, while remaining distinctly Irish and Québécois.The book focuses on Irish playwrights Frank McGuinness and Deirdre Kinahan and Québécois playwrights Carole Fréchette and Larry Tremblay, whose theatre, while associated with their own nations, redefines or defies purely nationalist labels. These four figures are all major players in a transnational theatre network – not only because their work is internationally staged but because it actively engages global concerns and participates in the broader globalization of theatre practice itself. Through examining the plays and their conditions of production, performance, and critical reception, Koustas uncovers significant historical and cultural parallels alongside equally revealing divergences. Quebec and Irish Theatre explores how two theatre traditions can remain culturally specific and be responsive to transnational conditions, and how theatre itself continues to mediate – and challenge – the social and political worlds it inhabits.

In small nations such as Ireland and Quebec, theatrical activity has long been a central means by which the nation becomes and remains conscious of itself. Examining the global trajectory, influence, and shifting concerns of contemporary Irish and Quebec theatre, this timely book traces their transformation from nationally rooted dramatic traditions to outward-looking theatrical cultures, shaped by fluid notions of identity, citizenship, and belonging. Jane Koustas shows how these theatres have moved beyond the confines of nationhood, nationalism, and identity politics, while remaining distinctly Irish and Québécois.The book focuses on Irish playwrights Frank McGuinness and Deirdre Kinahan and Québécois playwrights Carole Fréchette and Larry Tremblay, whose theatre, while associated with their own nations, redefines or defies purely nationalist labels. These four figures are all major players in a transnational theatre network – not only because their work is internationally staged but because it actively engages global concerns and participates in the broader globalization of theatre practice itself. Through examining the plays and their conditions of production, performance, and critical reception, Koustas uncovers significant historical and cultural parallels alongside equally revealing divergences. Quebec and Irish Theatre explores how two theatre traditions can remain culturally specific and be responsive to transnational conditions, and how theatre itself continues to mediate – and challenge – the social and political worlds it inhabits.

In small nations such as Ireland and Quebec, theatrical activity has long been a central means by which the nation becomes and remains conscious of itself. Examining the global trajectory, influence, and shifting concerns of contemporary Irish and Quebec theatre, this timely book traces their transformation from nationally rooted dramatic traditions to outward-looking theatrical cultures, shaped by fluid notions of identity, citizenship, and belonging. Jane Koustas shows how these theatres have moved beyond the confines of nationhood, nationalism, and identity politics, while remaining distinctly Irish and Québécois.The book focuses on Irish playwrights Frank McGuinness and Deirdre Kinahan and Québécois playwrights Carole Fréchette and Larry Tremblay, whose theatre, while associated with their own nations, redefines or defies purely nationalist labels. These four figures are all major players in a transnational theatre network – not only because their work is internationally staged but because it actively engages global concerns and participates in the broader globalization of theatre practice itself. Through examining the plays and their conditions of production, performance, and critical reception, Koustas uncovers significant historical and cultural parallels alongside equally revealing divergences. Quebec and Irish Theatre explores how two theatre traditions can remain culturally specific and be responsive to transnational conditions, and how theatre itself continues to mediate – and challenge – the social and political worlds it inhabits.