Modernism, defined here initially in its key features across the art forms, was a strong counterc... more Modernism, defined here initially in its key features across the art forms, was a strong countercurrent to the dominant style of realism in Irish theatre in the first decades of the twentieth century. This is particularly evident in the dance dramas of W. B. Yeats and his other experiments with non-realist dramatic forms. Séan O’Casey, in his controversial playThe Silver Tassieand later works, drew on the bold techniques of expressionism. Denis Johnston, who emerged as a playwright from the 1920s Dublin Drama League, gave the Gate Theatre one of its key early successes inThe Old Lady Says No!. And it was in the Gate, with Hilton Edwards as director and Michéal Mac Liammóir as designer and actor, that Irish audiences were exposed to the internationally influential style of presentational staging.
This review considers James Knowles. <em>Politics and Political Culture in the Court Masque... more This review considers James Knowles. <em>Politics and Political Culture in the Court Masque</em>. Basingstoke: Palgrave Macmillan, 2015. Pp vii, 288.
The Richard Brome Online project put to the proof a new approach to the editing of playtexts. Ric... more The Richard Brome Online project put to the proof a new approach to the editing of playtexts. Richard Brome’s collected plays have not been edited since 1873; only two have been recently staged in England. Understanding of his dramaturgy and its stage-worthiness is decidedly overdue, even though Brome sustained a long career with the foremost Caroline companies. Given the range of his comic styles, satirical vision, experiments with form, tone and metatheatricality, Brome is central to an appreciation of Caroline theatre. Publishing online enabled the editorial panel both to make the canon available and prove its viability in performance by making space to include filmed extracts of recorded workshops where crucial scenes from each play were explored with professional actors. The nine editors were encouraged to share their work with project colleagues and open wider questions regarding ‘how to edit performance texts’ with experienced actors. The project did not seek to define a set rubric for editing and workshopping as a team, but tested multiple ways of sharing and questioning our editorial instincts.1
... the actor, Stephen Rea, and the poet, Seamus Heaney. ... In, for example, two plays designed ... more ... the actor, Stephen Rea, and the poet, Seamus Heaney. ... In, for example, two plays designed for him by Samuel Lover, Rory O'More (1837) and The White Horse of the Pep-pers (1838), circumstances require the hero (Power as Rory or as Gerald Pepper) to assume the qualities ...
The Richard Brome Online project put to the proof a new approach to the editing of playtexts. Ric... more The Richard Brome Online project put to the proof a new approach to the editing of playtexts. Richard Brome’s collected plays have not been edited since 1873; only two have been recently staged in England. Understanding of his dramaturgy and its stage-worthiness is decidedly overdue, even though Brome sustained a long career with the foremost Caroline companies. Given the range of his comic styles, satirical vision, experiments with form, tone and metatheatricality, Brome is central to an appreciation of Caroline theatre. Publishing online enabled the editorial panel both to make the canon available and prove its viability in performance by making space to include filmed extracts of recorded workshops where crucial scenes from each play were explored with professional actors. The nine editors were encouraged to share their work with project colleagues and open wider questions regarding ‘how to edit performance texts’ with experienced actors. The project did not seek to define a set rubric for editing and workshopping as a team, but tested multiple ways of sharing and questioning our editorial instincts.1
Modernism, defined here initially in its key features across the art forms, was a strong counterc... more Modernism, defined here initially in its key features across the art forms, was a strong countercurrent to the dominant style of realism in Irish theatre in the first decades of the twentieth century. This is particularly evident in the dance dramas of W. B. Yeats and his other experiments with non-realist dramatic forms. Séan O’Casey, in his controversial playThe Silver Tassieand later works, drew on the bold techniques of expressionism. Denis Johnston, who emerged as a playwright from the 1920s Dublin Drama League, gave the Gate Theatre one of its key early successes inThe Old Lady Says No!. And it was in the Gate, with Hilton Edwards as director and Michéal Mac Liammóir as designer and actor, that Irish audiences were exposed to the internationally influential style of presentational staging.
This review considers James Knowles. <em>Politics and Political Culture in the Court Masque... more This review considers James Knowles. <em>Politics and Political Culture in the Court Masque</em>. Basingstoke: Palgrave Macmillan, 2015. Pp vii, 288.
The Richard Brome Online project put to the proof a new approach to the editing of playtexts. Ric... more The Richard Brome Online project put to the proof a new approach to the editing of playtexts. Richard Brome’s collected plays have not been edited since 1873; only two have been recently staged in England. Understanding of his dramaturgy and its stage-worthiness is decidedly overdue, even though Brome sustained a long career with the foremost Caroline companies. Given the range of his comic styles, satirical vision, experiments with form, tone and metatheatricality, Brome is central to an appreciation of Caroline theatre. Publishing online enabled the editorial panel both to make the canon available and prove its viability in performance by making space to include filmed extracts of recorded workshops where crucial scenes from each play were explored with professional actors. The nine editors were encouraged to share their work with project colleagues and open wider questions regarding ‘how to edit performance texts’ with experienced actors. The project did not seek to define a set rubric for editing and workshopping as a team, but tested multiple ways of sharing and questioning our editorial instincts.1
... the actor, Stephen Rea, and the poet, Seamus Heaney. ... In, for example, two plays designed ... more ... the actor, Stephen Rea, and the poet, Seamus Heaney. ... In, for example, two plays designed for him by Samuel Lover, Rory O'More (1837) and The White Horse of the Pep-pers (1838), circumstances require the hero (Power as Rory or as Gerald Pepper) to assume the qualities ...
The Richard Brome Online project put to the proof a new approach to the editing of playtexts. Ric... more The Richard Brome Online project put to the proof a new approach to the editing of playtexts. Richard Brome’s collected plays have not been edited since 1873; only two have been recently staged in England. Understanding of his dramaturgy and its stage-worthiness is decidedly overdue, even though Brome sustained a long career with the foremost Caroline companies. Given the range of his comic styles, satirical vision, experiments with form, tone and metatheatricality, Brome is central to an appreciation of Caroline theatre. Publishing online enabled the editorial panel both to make the canon available and prove its viability in performance by making space to include filmed extracts of recorded workshops where crucial scenes from each play were explored with professional actors. The nine editors were encouraged to share their work with project colleagues and open wider questions regarding ‘how to edit performance texts’ with experienced actors. The project did not seek to define a set rubric for editing and workshopping as a team, but tested multiple ways of sharing and questioning our editorial instincts.1
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