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A history of the Irish National Theatre, 1899-1933Andrews, Opal Lee. January 1934 (has links)
Call number: LD2668 .T4 1934 A52
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"To Have Lived is Not Enough for Them" performing Irish history in the twentieth century /Jaros, Michael Perin. January 2008 (has links)
Thesis (Ph. D.)--University of California, San Diego, 2008. / Title from first page of PDF file (viewed February 6, 2009). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 207-215).
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Denis Johnston (a critical biography)Boyle, Terence A. January 1995 (has links)
No description available.
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Resurrections : the use of folklore themes and motifs in Marina Carr's works /MacCionnaith, Eric-Michael A., January 2008 (has links)
Thesis (Ph. D.)--University of Oregon, 2008. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 141-147). Also available online in Scholars' Bank; and in ProQuest, free to University of Oregon users.
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The mnemonic and performative function of song in selected Irish plays from the 1950s and 1960sGreenwood, Joseph January 2014 (has links)
No description available.
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Critical reaction to Irish drama on the New York stage, 1900-1958Lyman, Kenneth Cox, January 1960 (has links)
Thesis (Ph. D.)--University of Wisconsin--Madison, 1960. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 810-834).
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RITUAL AS THE WAY TO SPEAK IN DANCING AT LUGHNASABaker, Vanessa Grace 31 May 2006 (has links)
No description available.
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Gerald MacNamara a kulturní obrození v Severním Irsku / Gerald MacNamara and the Northern RevivalDiaz, Michael January 2011 (has links)
English Abstract Nationalist movements often utilize aspects of mythology and history in their attempts to create a nationalist ideology. Through a selective emphasis and narrow interpretation of historical events, nationalist groups strive to create a national mythology. In this regard, the nationalist movements in fin de siècle Ireland are no different. This thesis attempts to show how the work of Gerald MacNamara, an Irish nationalist writing from Unionist Belfast during the periods of Revival and partition, was able to utilize the dramatic forms of parody and satire to create an oeuvre that critiqued both nationalist and unionist ideologies and nationalist movements as a whole.
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Liminaridade, Sacrifício e Reciprocidade: uma abordagem do ritual em três peças de Brian Friel / Liminality, sacrifice and reciprocity: an approach to ritual in three plays by Brian FrielCapuchinho, Adriana Carvalho 25 October 2012 (has links)
Este trabalho analisa três peças de Brian Friel - The Enemy Within (1962), Faith Healer (1979) e Dancing at Lughnassa (1990) escritas em um intervalo de quase trinta anos. Nossa tese é de que Friel escreve as três peças como rituais, o que, por sua vez, retira da concepção elaborada pelos ritualistas de Cambridge, na década de 1920, de que a tragédia grega e o drama se desenvolveram a partir dos rituais de fertilidade. Notamos que a influência da tragédia e dos rituais em Friel está consideravelmente mais vinculada à forma e à abordagem das peças enquanto um ritual que à reescritura de tragédias gregas ou mitos, muito embora alusões sejam recorrentes. Friel retrabalha mitos e rituais a fim de refazer e atualizar o drama enquanto um ritual em si mesmo, cuja razão de ser é permitir a significação e reorganização da vida individual e social no mundo moderno industrial, no caso específico, a vida na Irlanda contemporânea. Ocupamo-nos dos dramas sociais e dos rituais de passagem, com atenção especial ao período liminar, caracterizado pela transição entre papéis sociais envolvendo um período de não-pertencimento. Os três grupos envolvidos em cada uma das peças: os monges e noviços em The Enemy Within, a pequena trupe mambembe em Faith Healer e a família em Dancing at Lughnasa, vivem na periferia de suas sociedades sendo liderados por figuras vivendo uma situação liminar participando de dramas sociais que envolvem processos rituais tanto formais como não-institucionalizados. / This work addresses three plays by Brian Friel - The Enemy Within (1962), Faith Healer (1979) and Dancing at Lughnassa (1990) - written within a period of almost thirty years. Our thesis is that Friel writes all three plays as rituals, a conception taken from the Cambridge Ritualists, who in the 1920s assume that Greek tragedy and drama grew out of the ancient fertility rituals. We notice that the influence of tragedy and rituals on Friel\'s work is more connected to the form and approach to the plays as rituals than to the rewriting of Greek tragedies or myths. Friel reworks myths and rituals in order to update and remake drama as a ritual in itself, whose raison d\'etre for him is to allow the meaning and reorganization of individual and social life in modern industrial world, mainly life in contemporary Ireland. We deal here with social dramas and rites of passage, with special regard to the liminal period, characterized by the transition between social roles and involving a period of not belonging. The three groups involved in each play: the monks and novices in The Enemy Within, the small troupe in Faith Healer and the family in Dancing at Lughnasa, live on the boundaries of their societies and are led by men who are in a liminal situation in social dramas which involve both institutionalized and informal ritual processes.
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Da biografia para o palco: três peças de Thomas Kilroy / From biography to stage: three plays by Thomas KilroyJustino, Adriana Torquete do Nascimento 25 July 2012 (has links)
A presente dissertação examina a transposição da biografia para o palco em três peças do autor irlandês Thomas Kilroy: Double Cross (1986), The Secret Fall of Constance Wilde (1997) e My Scandalous Life (2004), analisando o modo como o dramaturgo adaptou os registros históricos para a linguagem teatral e explorou as lacunas biográficas por meio de elementos ficcionais; e de que forma foram empregados os recursos épicos na forma dramática. Double Cross baseia-se em duas figuras históricas, Brendan Bracken e William Joyce, que atuaram em lados opostos durante a Segunda Guerra Mundial. The Secret Fall of Constance Wilde transpõe para o teatro episódios da vida de Constance, esposa de Oscar Wilde. O monólogo My Scandalous Life retoma a personagem Lord Alfred Douglas, presente em The Secret Fall of Constance Wilde. / The present dissertation examines the transposition from biography to stage in three plays by Thomas Kilroy: Double Cross (1986), The Secret Fall of Constance Wilde (1997) e My Scandalous Life (2004), analyzing how the Irish playwright adapted the historical records for theatrical language and filled in the biographical gaps through fictional elements; and how epic features were used in dramatic form. Double Cross is based on two historical figures, Brendan Bracken and William Joyce, who were on opposite sides during the Second World War. The Secret Fall of Constance Wilde transposes events of Constances life, Oscar Wildes wife, to the stage. The monologue My Scandalous Life concentrates on Lord Alfred Douglas, also present in The Secret Fall of Constance Wilde.
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