This collection of essays and artist reflections profiles and analyses some of the richest developments to take place in Irish theatre and performance practice in recent times, focusing on artists and companies who have performed at the Dublin Theatre Festival between 2007-2013. 12 core critical essays explore some of the most significant innovations and interventions in Ireland's theatre and performance landscape, while 5 shorter artist responses reflect upon the influence of the Dublin Theatre Festival on their own practice, by describing formative encounters with international work over the course of the festival's history. The essays focus on work produced during a period of profound crisis and transformation in Irish culture, to which theatre and performance can be seen to respond.As well as exploring topical social and political issues addressed by theatre and performance, the volume foregrounds the range of formal experimentation which took place during this time, through focusing on site-specific and responsive theatre, testimonial and biographical performance, dance theatre, family theatre, postdramatic tendencies, new takes on Irish theatre's longstanding preoccupation with space and place, and fresh interpretations of classic Irish writing.
It also considers the international influences at play in the work discussed, and the influence of Irish theatre and performance abroad
Willie White is Artistic Director and Chief Executive of Dublin Theatre Festival. Fintan Walsh is Lecturer in Theatre and Performance Studies at Birkbeck, University of London, where he teaches on the B.A. Theatre and Drama Studies degree and the M.A. Text and Performance (with RADA). He is author of Theatre & Therapy (Palgrave Macmillan, 2013) and Male Trouble: Masculinity and the Performance of Crisis (Palgrave Macmillan, 2010). He is editor of Queer Notions: New Plays and Performances from Ireland (Cork University Press, 2010), co-editor of Performance, Identity and the Neo-Political Subject (Routledge, 2013), Crossroads: Performance Studies and Irish Culture (Palgrave Macmillan, 2009). Fintan is a regular contributor to Irish Theatre Magazine
Contents 1. The Power of the Powerless: Theatre in Turbulent Times by Fintan Walsh ONE: Theatres of Testimony 2. ANU Productions and Site-Specific Performance: The Politics of Space and Place by Brian Singleton 3. Witnessing the (Broken) Nation: Theatre of the Real and Social Fragmentation in Brokentalkers' Silver Stars, The Blue Boy, and Have I No Mouth by Charlotte McIvor 4. You Had to be There by Louise Lowe TWO: Auto/Biographical Performance 5. Making Space: Female-Authored Queer Performance in Irish Theatre by Oonagh Murphy 6. The Writing Life by Helen Meany 7. Metaphysicians of Unnatural Chaos: Memories of Genesi by Societas Raffaello Sanzio by Dylan Tighe THREE: Bodies Out of Bounds 8. Insider and Outsider: Michael Keegan-Dolan in the Irish Dance Landscape by Michael Seaver 9. And the Adults Came Too! Dublin Theatre Festival and the Development of Irish Children's Theatre by Eimear Beardmore 10. Living Inspiration by John Scott FOUR: Placing Performance 11. Representations of Working-Class Dublin at the Dublin Theatre Festival by James Hickson 12. 'Getting Known': Beckett, Ireland, and the Creative Industries by Trish McTighe 13. The Art of Perspective by Michael West FIVE: Touring Performances 14. Druid Cycles: The Rewards of Marathon Productions by Tanya Dean 15. Staging the National in an International Context: Druid at the Dublin Theatre Festival by Sara Keating 16. Viewed from Afar: Contemporary Irish Theatre on the World's Stages by Peter Crawley 17. A Dance You Associate With Your Family by Gary Keegan