Based on extensive archival research, this open access book examines the poetics and politics of the Dublin Gate Theatre (est. 1928) over the first three decades of its existence, discussing some of its remarkable productions in the comparative contexts of avant-garde theatre, Hollywood cinema, popular culture, and the development of Irish-language theatre, respectively. The overarching objective is to consider the output of the Gate in terms of cultural convergence - the dynamics of exchange, interaction, and acculturation that reveal the workings of transnational infrastructures.
Based on extensive archival research, this open access book examines the poetics and politics of the Dublin Gate Theatre (est. 1928) over the first three decades of its existence, discussing some of its remarkable productions in the comparative contexts of avant-garde theatre, Hollywood cinema, popular culture, and the development of Irish-language theatre, respectively. The overarching objective is to consider the output of the Gate in terms of cultural convergence - the dynamics of exchange, interaction, and acculturation that reveal the workings of transnational infrastructures.
Ond¿ej Pilný is Professor of English and American Literature and Director of the Centre for Irish Studies at Charles University, Prague, Czech Republic. His publications include The Grotesque in Contemporary Anglophone Drama (2016) and Irony and Identity in Modern Irish Drama (2006). Ruud van den Beuken is Assistant Professor of English Literature at Radboud University Nijmegen, the Netherlands. He was awarded the 2015 ISTR New Scholars' Prize and his publications include Avant-Garde Nationalism at the Dublin Gate Theatre, 1928-1940 (2020). Ian R. Walsh is a Lecturer in Drama and Theatre Studies at NUI Galway, Ireland. His publications include Experimental Irish Theatre: After W.B. Yeats (2012) and The Theatre of Enda Walsh (2015), co-edited with Mary Caulfield.
Inhaltsangabe
1. Introduction: Cultural Convergence at Dublin's Gate Theatre; Ondrej Pilný (Charles University, Prague, Czech Republic), Ruud van den Beuken (Radboud University Nijmegen, The Netherlands) and Ian R. Walsh (NUI Galway, Ireland).- 2. The Internationalist Dramaturgy of Hilton Edwards and Micheál mac Liammóir; Joan FitzPatrick Dean (University of Missouri - Kansas City, USA) and Radvan Markus (Charles University, Prague, Czech Republic).- 3. Gearóid Ó Lochlainn: The Gate Theatre's Other Irish-speaking Founder; Pádraig Ó Siadhail (Saint Mary's University, Halifax, Nova Scotia, Canada).- 4. The Transnational Roots of Key Figures from the Early Years of the Gate Theatre, Dublin; David Clare (Mary Immaculate College, University of Limerick, Ireland) and Nicola Morris (Trinity College Dublin, Ireland).- 5. The Other Gates: Anglo-American Influences on and from Dublin; Charlotte Purkis (University of Winchester, UK).- 6. The Brothers Capek at the Gate: R.U.R. and The Insect Play; Ondrej Pilný (Charles University, Prague, Czech Republic).- 7. Kismet: Hollywood, Orientalism and the Design Language of Padraic Colum's Mogu of the Desert; Elaine Sisson (IADT, Dublin, Ireland).- 8. Prussian Discipline and Lesbian Vulnerability: Christa Winsloe's Children in Uniform at the Gate; Yvonne Ivory (University of South Carolina, USA).- 9. 'We belong to the world': Christine Longford's War Plays during Irish Neutrality; Erin Grogan (Texas Tech University, USA).
1. Introduction: Cultural Convergence at Dublin's Gate Theatre; Ondrej Pilný (Charles University, Prague, Czech Republic), Ruud van den Beuken (Radboud University Nijmegen, The Netherlands) and Ian R. Walsh (NUI Galway, Ireland).- 2. The Internationalist Dramaturgy of Hilton Edwards and Micheál mac Liammóir; Joan FitzPatrick Dean (University of Missouri - Kansas City, USA) and Radvan Markus (Charles University, Prague, Czech Republic).- 3. Gearóid Ó Lochlainn: The Gate Theatre's Other Irish-speaking Founder; Pádraig Ó Siadhail (Saint Mary's University, Halifax, Nova Scotia, Canada).- 4. The Transnational Roots of Key Figures from the Early Years of the Gate Theatre, Dublin; David Clare (Mary Immaculate College, University of Limerick, Ireland) and Nicola Morris (Trinity College Dublin, Ireland).- 5. The Other Gates: Anglo-American Influences on and from Dublin; Charlotte Purkis (University of Winchester, UK).- 6. The Brothers Capek at the Gate: R.U.R. and The Insect Play; Ondrej Pilný (Charles University, Prague, Czech Republic).- 7. Kismet: Hollywood, Orientalism and the Design Language of Padraic Colum's Mogu of the Desert; Elaine Sisson (IADT, Dublin, Ireland).- 8. Prussian Discipline and Lesbian Vulnerability: Christa Winsloe's Children in Uniform at the Gate; Yvonne Ivory (University of South Carolina, USA).- 9. 'We belong to the world': Christine Longford's War Plays during Irish Neutrality; Erin Grogan (Texas Tech University, USA).
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