Thesis (Ph. D.)--Ohio State University, 2004. / Title from first page of PDF file. Document formatted into pages; contains vii, 189 p. Advisor: Joy Reilly, Theatre Graduate Program. Includes bibliographical references (p. 181-187).

Thesis (M.F.A.) -- University of Portland, 2008. / Title from PDF t.p. (viewed on Dec. 9, 2008). Includes bibliographical references.

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Zugl.: Düsseldorf, Univ., Diss., 2003

Zugl.: Düsseldorf, Universiẗat, Diss., 2003.

In this project, I explore how Sam Shepard and Martin McDonagh treat concepts of space (both on stage and within a larger context that expands beyond the theatre), and I seek to identify how underlying anxieties about a mythologized past become manifest in the relationships between characters and landscapes by examining heterotopic and liminal elements in their scripts.

Over the course of theatre's history, villains had stereotypical traits: revenge, greed, and power. Contemporary villains, though, evoke more empathy and sympathy from audiences than classic villains. In an effort to understand the roots of villainous behavior in contemporary characters, this thesis surveys a few notable classic villains to help compare the classic to the contemporary. While holding on to qualities of the classic stereotypes, contemporary playwrights create frequent moments of sympathy and empathy for villains who appeal to audiences' desires to connect, justify, and understand the reasons for their villainies. This thesis investigates despicable yet empathetic villains in three plays: Tony Kushner's Angels in America, Martin McDonagh's The Beauty Queen of Leenane, and Stephen Sondheim and John Weidman's Assassins. An analysis of the playwrights' manipulation of characters and traits, as well as audience expectations, provides a theory on the new villain type and the lessons that can be learned.

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Cette thèse examine comment les pièces de Martin McDonagh, dans le texte même et sur scène, démontre les éléments destructeur, homogénéisant, et renforçant des stéréotypes de la mondialisation, ainsi que les éléments positifs comme l’échange culturel et la ‘glocalisation.’ Ceci est réalisé en analysant les représentations comique du terrorisme et terrorisation présent dans les pièces, ainsi qu’une analyse de trois traductions des pièces de McDonagh en français, et une étude sur la représentation du caractère Irlandais dans les pièces de McDonagh à l’étranger. / This thesis examines the means by which the plays of Martin McDonagh, both in text and performance, display the destructive, homogenizing, or stereotype-reinforcing element of globalization, as well as the positive elements such as globalized cultural exchange and (g)localization. It does so through an analysis of the humorous representations of terrorism and terrorization present in the plays, an in depth study of three French translations of the plays, and a study of the representation of Irishness in McDonagh’s plays abroad.

I argue that lyricism, prevalent on the Irish stage from the inception of the national dramatic theatre tradition, is invoked, subverted, and exhausted by contemporary Irish playwrights. Lyric art had an evident nation-building function on the Irish stage, but the capacities of lyric language also included the expression and containment of painful material that otherwise could not easily be represented or voiced, but which, by the second half of the twentieth century, could not be comfortably repressed. In the period 1960-2010 (from Tom Murphy to Mark O’Rowe), playwrights of national significance—Murphy, Marina Carr, Martin McDonagh, Enda Walsh, and O’Rowe—increasingly associate the Hiberno-English lyric register with social fracture, emotional and psychic disturbance, and loss, until the lyric mode itself is exposed as inherently traumatized. I call this later mode, at the close of the twentieth century, “black lyric.” Black lyric operates as a travesty of lyric expression. Black lyrical writing is lyrical text containing, but also produced by, pain, and at its fullest power, it operates as a grotesque parody of poetic expressiveness. It confronts the audience with trauma and psychic suffering attached to national expression rather than offering sonorous comfort. This project uses a combination of close reading, historical research, and theoretical analysis to argue that the playwrights who deploy heightened Hibernicized English at the end of the twentieth century are commenting upon and challenging the canon of Irish drama, which depended on a lyric register not only to console but to conceal. Commentators of twentieth-century Irish drama routinely remark on the dramatic tradition’s visceral poetry, yet it is rarely the subject of any sustained analysis outside of considerations of “language” or “style” generally. This dissertation seeks to partly address that omission.