Description
Book SynopsisIbsen and Chekhov on the Irish Stage presents articles on the theories of translation and adaptation, new insights on the work of Brian Friel, Frank McGuinness, Thomas Kilroy, and Tom Murphy, historical analyses of theatrical productions during the Irish Revival, interviews with contemporary theatre directors, and a round-table discussion with the playwrights, Michael West and Thomas Kilroy.
Ibsen and Chekhov on the Irish Stage challenges the notion that a country’s dramatic tradition develops in cultural isolation. It uncovers connections between past productions of plays by Ibsen and Chekhov and contemporary literary adaptations of their works by Irish playwrights, demonstrating the significance of international influence for the formation of national canon.
Conceived in the spirit of a round-table discussion, Ibsen and Chekhov on the Irish Stage is a collective study of the intricacies of trans-cultural migration of dramatic works and a re-examination of Irish theatre history from 1890 to the present day.
Table of ContentsCONTENTS: Tore Rem: Is There a Norwegian Ibsen? Ibsen at Home and Abroad - Christopher Murray: Shaw’s Ibsen and the Idea of an Irish Theatre - Christopher Morash: Ibsen in Inish: Lennox Robinson, Ibsen, and the Censorship of Publications Act - Irina Ruppo Malone: Denis Johnston’s Ibsen and Post-Revivalist Ireland - Patrick Burke: Artists and Users in the Later Plays of Ibsen and Friel - Helen Heusner Lojek: Frank McGuinness’s «Only Ibsen of the Western World» - Cynthia Marsh: Making Foreign Theatre or Making Theatre Foreign - Robert Tracy: Rehearsing the 1916 Rising: Theatre Politics and Political Theatre - Nicholas Grene: Chekhov and the Irish Big House - Ros Dixon: «All of Ireland is Our Orchard»: Maria Knebel’s Production of The Cherry Orchard at the Abbey in 1968 - Zsuzsa Csiskai: Tom Murphy’s The Cherry Orchard in the Context of Irish Rewritings of Chekhov.
