Description
Book SynopsisA useful and provocative book that collects the diverse and related practices of theatre makers and theatre professionals deserving of greater attention from artists, teachers and scholars. (Willie White, Director of Dublin Theatre Festival and President of IETM)
Radical Contemporary Theatre Practices by Women in Ireland is an important contribution to the fields of Irish theatre and performance studies, and gender and performance in Ireland. The essays and interviews explore the work of women directors, designers, and playwrights on both sides of the Irish Border, who are currently shaping theatre practice on the island. By gathering such an impressive range of material, Mária Kurdi and Miriam Haughton have produced a collection that offers a snapshot of radical practice on the Irish stage in the early 21st century. (Lisa Fitzpatrick, Senior Lecturer in Theatre, University of Ulster)
Trade Review«A useful and provocative book that collects the diverse and related practices of theatre makers and theatre professionals deserving of greater attention from artists, teachers and scholars.» (Willie White, Director of Dublin Theatre Festival and President of IETM) «Radical Contemporary Theatre Practices by Women in Ireland is an important contribution to the fields of Irish theatre and performance studies, and gender and performance in Ireland. The essays and interviews explore the work of women directors, designers, and playwrights on both sides of the Irish Border, who are currently shaping theatre practice on the island. By gathering such an impressive range of material, Mária Kurdi and Miriam Haughton have produced a collection that offers a snapshot of radical practice on the Irish stage in the early 21st century.» (Lisa Fitzpatrick, Senior Lecturer in Theatre, University of Ulster)
Table of ContentsCONTENTS: Jessica Kennedy/Megan Kennedy/junk ensemble: Collectable junk: Moving through a Decade of Dance Theatre - Shonagh Hill: Olwen Fouéré’s Corpus: The Performer’s Body and her Body of Work - Cathy Leeney Second Skin: Costume and Body: Power and Desire - Miriam Haughton: From Laundries to Labour Camps: Staging Ireland’s «Rule of Silence» in ANU Productions’
Laundry - Caitriona Mary Reilly: The Fetishization and Rejection of Womanhood in the Performance Works of Áine Phillips - Sam Yates: «We Will Be Seen»: Documenting Queer Womanhood in
I (Heart) Alice (Heart) I - Emma Creedon: Performative Reappropriation: A Case Study of Taking Back Our Voices - Brenda O’Connell: «The Horror, The Horror»: Performing «The Dark Continent» in Amanda Coogan’s
The Fountain and Samuel Beckett’s
Not I - Fiona Coffey: Blurring Boundaries and Collapsing Genres with Shannon Yee: Immersive Theatre, Pastiche, and Radical Openness in the North - Kasia Lech: Pain, Rain, and Rhyme: the Role of Rhythm in Stefanie Preissner’s Work - Charlotte Headrick: Reflections and Interviews with Radical Theatre Makers - Lynne Parker: «Radical» Director. Reflections of a Fellow Director - Matt Jennings: Activism and Responsibility: Women Directing Theatre in Contemporary Northern Ireland - Karen Quigley: HERE AND NOW, There and Then: An Interview with Veronica Dyas - Noelia Ruiz: The 10kW Girl: An Interview with Aedín Cosgrove - Tanya Dean: Landmark Decisions: An Interview with Anne Clarke
