Women in Irish Drama: A Century of Authorship and by M. Sihra

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By M. Sihra

That includes unique essays by way of best students within the box, this ebook explores the colossal legacy of ladies playwrights in Irish theatre because the starting of theTwentieth century. Chapters give some thought to the intersecting contexts of gender, sexuality and the physique with a view to examine the wider cultural, political and historic implications of representing 'woman' at the level. moreover, a couple of essays have interaction with representations of girls via a variety of male playwrights so that it will re-examine ordinary contexts and traditions in Irish drama. incorporates a Foreword by way of Marina Carr and an invaluable appendix of Irish ladies playwrights and their works.

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In what has come to be regarded as a dramatic tradition of almost exclusively male playwrights (Dion Boucicault, Oscar Wilde, G. B. Shaw, Yeats, J. M. Synge, Sean O’Casey, Samuel Beckett, John B. Keane, Tom Murphy, Brian Friel, Thomas Kilroy, Frank McGuinness), it is crucial to consider the ways in which canon-formation enables an implicit set of cultural norms and standards to materialize, which perpetuate hegemonic structures, and which are based upon historically contingent values. If artistic canons are ‘a history of cultural authority’, then, as Jill Dolan observes: patriarchal/canonical authority has determined the canon’s selection and then mystified its terms, so that this reified body of work seems always to have been in place.

Marina Carr: Plays One, p. 107. 10. Paul Vincent Carroll, Two Plays by Paul Vincent Carroll (London: Macmillan, 1948), p. 178. 11. Two Plays by Paul Vincent Carroll, p. 181. 12. Máiréad Ní Ghráda, On Trial, trans. Máiréad Ní Ghráda (Dublin: James Duffy, 1966), p. 20. 13. Frank McGuinness, Frank McGuinness: Plays One (London: Faber & Faber, 1996), p. 385. 14. Frank McGuinness: Plays One, p. 395. 15. Augusta Gregory, Kathleen ni Houlihan, in Lucy McDiarmid and Maureen Waters (eds), Lady Gregory: Selected Writings (London: Penguin, 1995), p.

Cerquoni suggests that metaphysical loss, absence, exile 18 Women in Irish Drama and home are central to Devlin’s theatrical explorations and that the ‘importance of place, of departures and returns, of journeys away, marks all her work’. Cerquoni’s meditation on Ourselves Alone (1985) challenges previous analyses which have considered the play in terms of a ‘certain absolutism and separatism in the thematic and formal development of the subject-matter’. Here, the play is revealed as an ‘intersected matrix of outward and inward spaces’ which envisages an alternative kind of dramaturgy, disrupting the seams of realism.

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