Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
  1. Home
  2. Search

Refine search

Refine search

Access:
Content type:
Publication date:
Apply   From and To filters
Subject: Show more
Journals Show more
Publishers: Show more
Societies Show more
Series: Show more
Collections: Show more

Actions for selected content:

Select all | Deselect all
  • View selected items
  • Export citations
  • Download PDF (zip)
  • Save to Kindle
  • Save to Dropbox
  • Save to Google Drive

Save Search

You can save your searches here and later view and run them again in "My saved searches".

Please provide a title, maximum of 40 characters.
Cancel
×

28 results

Page 1 of 2

  • Chapter 24 - The Abbey Theatre

  • from Part IV - Performance Legacies
  • Edited by James Moran, University of Nottingham
  • Book:
    Sean O'Casey in Context
    Print publication:
    10 July 2025, pp 257-268

  • Summary

    O’Casey is both the Abbey’s most-produced playwright and also an Abbey writer who in a period of a decade or so submitted eleven plays, more than half of which were initially rejected. In O’Casey’s own often tetchy account of this relationship, the rejections are deplorable failures to recognise his genius, and some version of that view has been adopted by much O’Casey scholarship over the years. However, this chapter acknowledges the other side of this story, looking at the extent to which the Abbey in the 1920s functioned as a repertory theatre, part of whose institutional mission involved the mentoring and development of emerging writers.

  • Chapter 32 - Legacy

  • from VII - Legacy
  • Edited by Geraldine Higgins, Emory University, Atlanta
  • Book:
    Seamus Heaney in Context
    Published online:
    15 March 2021
    Print publication:
    01 April 2021, pp 348-356

  • Summary

    When Seamus Heaney passed away in 2013, there was a remarkable public mourning in Ireland, which merged into a series of reflections on what had been lost. Shortly after, a national poll voted 'Clearances 3' from The Haw Lantern ('When the others were away at Mass') as Ireland’s favourite poem of all time. This chapter looks at some of the ways in which the mourning for Seamus Heaney as a person built upon a series of reflections on loss that had been developing in his poetry since the time of The Haw Lantern. Drawing on manuscript sources, the chapter concludes by focusing on the images of homelessness in Heaney’s poetry that form a counterpoint to the more obvious images of the 'den life' of his childhood home, suggesting that it is possible to see much of his later work as a sustained meditation on homelessness as a condition of being.

  • Chapter 7 - ‘Somehow It Is Not the Same’: Irish Theatre and Transition

  • from Part II - Genres in Transition
  • Edited by Eve Patten, Trinity College Dublin
  • Book:
    Irish Literature in Transition, 1940–1980
    Published online:
    28 February 2020
    Print publication:
    12 March 2020, pp 134-149

  • Summary

    This chapter considers theatre productions in Ireland between the 1950s and 1970s, asserting the continued relevance and sharpness of Irish theatre in relation to social and political transition. Emerging mid-century playwrights such as Tom Kilroy and Brian Friel found themselves at a challenging and uncertain moment in Irish theatre, coming in the wake of the Abbey’s revivalist triumph but exposed too to the experimental movements of European theatre practice. Determined to write against inherited theatrical conventions and the increasing national dependence on a stagnant domestic realism, they looked to forge a new dramatic language adequate to a society in a state of acute and disorienting transition. The Pike Theatre was one of an array of independent theatres that succeeded in staging major avant-garde productions, such as Samuel Beckett’s Waiting for Godot in 1955. Playwrights working more explicitly within inherited naturalistic modes, such as M. J. Molloy, meanwhile, found more subtle means of subverting the spatial conventions of Irish theatre in a way that drew attention to imperative social issues such as mass emigration.

  • Chapter 1 - Making space

  • Chris Morash, National University of Ireland, Maynooth, Shaun Richards, St Mary's University College, London
  • Book:
    Mapping Irish Theatre
    Published online:
    05 December 2013
    Print publication:
    12 December 2013, pp 6-26
    • Chapter
      • You have access
    • PDF
    • HTML
    • Export citation

Page 1 of 2