Häftad, Engelska, 2013

That Was Us

Contemporary Irish Theatre and Performance

Av Fintan Walsh, Willie White

369 kr

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Beskrivning

In the wake of Ireland’s recent economic rise, fall, and associated social crises, theatre and performance have played vital roles in reflecting on the past, engaging the present, and imagining possible futures.That Was Us features a wide, rich range of critical essays and artist reflections that strive to make sense of some of the most significant shifts and trends in contemporary Irish theatre and performance. Focusing on artists connected to the Dublin Theatre Festival, the book addresses work by the Abbey Theatre, ANU Productions, Brokentalkers, The Corn Exchange, Druid, Fabulous Beast Dance Theatre, the Gate Theatre, Landmark Productions, Rough Magic Theatre Company, THEATREclub, Theatre Lovett, Pan Pan, The Stomach Box and THISISPOPBABY, among others. Some of the burgeoning forms and practices discussed include: site-specific and site-responsive theatre; testimonial, documentary, and biographical performance; dance theatre; theatre for children and families; new writing; and fresh takes on canonical writing staged at home or toured internationally.In bringing together critics and artists to think side by side, That Was Us is indispensable for anyone interested in contemporary practices and cultural politics. Contents1. The Power of the Powerless: Theatre in Turbulent Times by Fintan WalshONE: Theatres of Testimony 2. ANU Productions and Site-Specific Performance: The Politics of Space and Place by Brian Singleton3. Witnessing the (Broken) Nation: Theatre of the Real and Social Fragmentation in Brokentalkers’ Silver Stars, The Blue Boy, and Have I No Mouth by Charlotte McIvor4. You Had to be There by Louise LoweTWO: Auto/Biographical Performance 5. Making Space: Female-Authored Queer Performance in Irish Theatre by Oonagh Murphy6. The Writing Life by Helen Meany7. Metaphysicians of Unnatural Chaos: Memories of Genesi by Socìetas Raffaello Sanzio by Dylan TigheTHREE: Bodies Out of Bounds8. Insider and Outsider: Michael Keegan-Dolan in the Irish Dance Landscape by Michael Seaver9. And the Adults Came Too! Dublin Theatre Festival and the Development of Irish Children’s Theatre by Eimear Beardmore10. Living Inspiration by John ScottFOUR: Placing Performance11. Representations of Working-Class Dublin at the Dublin Theatre Festival by James Hickson12. ‘Getting Known’: Beckett, Ireland, and the Creative Industries by Trish McTighe13. The Art of Perspective by Michael WestFIVE: Touring Performances14. Druid Cycles: The Rewards of Marathon Productions by Tanya Dean15. Staging the National in an International Context: Druid at the Dublin Theatre Festival by Sara Keating16. Viewed from Afar: Contemporary Irish Theatre on the World’s Stages by Peter Crawley17. A Dance You Associate With Your Family by Gary Keegan

Produktinformation

Utgivningsdatum: 2013-09-16
Mått: 140 x 218 x 38 mm
Vikt: 375 g
Format: Häftad
Språk: Engelska
Antal sidor: 248
Förlag: Bloomsbury Publishing PLC
ISBN: 9781783190355

Utforska kategorier

Teater

Mer information

Fintan Walsh is Lecturer in Theatre and Performance Studies at Birkbeck, University of London, where he teaches on the B.A. Theatre and Drama Studies degree and the M.A. Text and Performance (with RADA). He is author of Theatre & Therapy (Palgrave Macmillan, 2013) and Male Trouble: Masculinity and the Performance of Crisis (Palgrave Macmillan, 2010). He is editor of Queer Notions: New Plays and Performances from Ireland (Cork University Press, 2010), co-editor of Performance, Identity and the Neo-Political Subject (Routledge, 2013), Crossroads: Performance Studies and Irish Culture (Palgrave Macmillan, 2009). Fintan is a regular contributor to Irish Theatre Magazine. Willie White is Artistic Director and Chief Executive of Dublin Theatre Festival.

Recensioner i media

The collection aims for - and achieves - great breadth. It features seventeen chapters from scholars and practitioners on subjects ranging from socially engaged theatre such as that of ANU Productions and Brokentalkers, to children's theatre, to 'bio-plays' that have taken literary figures as their protagonists, to the touring productions of Druid Theatre Company... the collection succeeds in demonstrating "the ongoing role theatre and performance have to play in exploring questions of identity, responsibility, and civic participation". While O'Toole might lament the absence of a 'power play' in contemporary Ireland, Walsh and his contributors show that Irish theatre and performance have responded in diverse and often provocative ways to the challenges of living in contemporary Ireland.

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