Stage of Emancipation

Marguérite Corporaal is Professor of Anglophone Literature and Culture at Radboud University in the Netherlands. She has published on nineteenth-century Irish (diaspora) literature, regional fiction and the cultural legacies of Ireland’s Great Famine. Ruud van den Beuken is Assistant Professor of English Literature at Radboud University Nijmegen, the Netherlands.

• 1. Introduction Marguérite Corporaal and Ruud van den BeukenI: Liberating Bodies2. Queering the Irish Actress: The Gate Theatre Production of Children in Uniform (1934) Mary Trotter 3. Maura Laverty at the Gate: Theatre as Social Commentary in 1950s IrelandDeirdre McFeelyII: Emancipating Communities4. ‘Let’s Be Gay, While We May’: Artistic Platforms and the Construction of Queer Communities in Mary Manning’s Youth’s the Season–?Grace Vroomen 5. Images and Imperatives: Robert Collis’s Marrowbone Lane (1939) at the Gate as Theatre for Social ChangeIan R. WalshIII: Staging Minority Languages6. Authenticity and Social Change on the Gate Stage in the 1970s: ‘Communicating with the People’ Barry Houlihan 7. Micheál mac Liammóir, the Irish Language and the Idea of FreedomRadvan MarkusIV: Deconstructing Aesthetics8. The Use of Minority Languages at Dublin’s Gate Theatre and Barcelona’s Teatre Lliure Feargal Whelan and David Clare 9. Mogu and the Unicorn: Frederick May’s Music for the Gate TheatreMark Fitzgerald 10. Tartan Transpositions: Materialising Europe, Ireland and Scotland in the Designs of Molly MacEwenSiobhán O’GormanV: Contesting Traditions in Contemporary Theatre11. From White Othello to Black Hamlet: A History of Race and Representation at the Gate Theatre Justine Nakase 12. Bending the Plots: Selina Cartmell’s Gate and Politics of Gender InclusionMarguérite Corporaal

'This collection makes room to breathe in Irish theatre – allowing us to inhale the extraordinary diversity of identities and artistry which were embodied on the Gate stage. Our eyes are opened once again to these forgotten legacies which challenge singular concepts of nation and society, transforming not only our understanding of the past but liberating our approach to theatre now.'- Dr Melissa Sihra, Trinity College Dublin