The field of Irish theatre studies is being transformed by new approaches to the rich history of Irish theatre and by the remarkable diversity of contemporary theatrical practice. The Irish Society for Theatre Research (ISTR) was founded in order to develop and promote new and challenging ways of thinking about Irish theatre which engage with diverse contemporary historiographical, theoretical, cultural and performance frameworks. In line with the objectives stated in the ISTR Constitution, Irish Theatre International reflects the full spectrum approach in terms of the engagement with theatre and performance from page to stage. In ‘Witnessing Change: Public Life and Performance in These Times,’ Janelle Reinelt engages with the disciplinary debate regarding performance analysis, specifically whether terms such as ‘theatre studies’ or ‘performance studies’ are pertinent appellations, and whether expanding the remit to include ‘cultural performances’ will dilute the field and make it indistinguishable from cultural studies or sociology. Reinelt suggests that rather than what should be included or excluded from the field of enquiry, the focus should be on what theatre and performance studies can contribute to other fields. It is from this premise that Reinelt analyzes the recent paradigm shift in the political landscape of Northern Ireland, in terms of media representations of the détente between Nationalist and Loyalist factions as public performances for global spectators. In ‘The Unbearable Darkness of Being: Marina Carr’s Scarecrow,’ Melissa Sihra explains how Ullaloo (1988). Sihra suggests that in in extremis, where the death of the protagonist ‘Woman’ manifests Carr’s fundamental theme, namely the death of self concomitant to lack of fulfilment in life. Sihra maintains that in Carr’s dramaturgy it is only via the ultimate act of death that the ‘deathliness’ of futile existence can be cleansed and a profound awareness of life can emerge.
Ondřej Pilný’s ‘My Kingdom for a Pun: Myles na gCopaleen, Erwin Schrödinger and Improbable Frequency’ examines one of the highlights of recent Irish theatre, specifically the Rough Magic Theatre Company production of Arthur Riordan and Bell Helicopter’s The School for Scandal and were programmed under the theme of ‘Transgression.’ The cross-dressing performer Shirley Temple Bar was chosen to lead the event which highlighted tensions regarding the portrayal of homosexuality in Irish theatre and performance. Walsh examines these tensions by considering some of the issues which the event raised, particularly whether the spectacle of a cross-dressing, gay performer substantiated Thompson in Irish Theatre International.
|Author||Editor: Paul Murphty|
|Add Title||Volume 1 Number 1 April 2008|
Irish Theatre International
- Brand: Carysfort Press
- Product Code: 2009-0870
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