By Martin Middeke, Peter Paul Schnierer
This is THE authoritative single-volume advisor studying the paintings of the 25 top Irish playwrights from the Sixties to the current, together with Tom Murphy, Sebastian Barry, Marina Carr, Brian Friel, Thomas Kilroy, Martin McDonagh, Frank McGuinness, Mark O'Rowe, Christina Reid, Enda Walsh with perception and essays from a world crew of major scholars.
Each bankruptcy is dedicated fullyyt to a playwright, supplying unequalled insurance to express the whole breadth, power and improvement in their theatrical paintings. The consultant incorporates a biographical advent, a dialogue of the playwright's exact sort, dramaturgical matters and a concise research of every in their released play plus an inventory of premieres, the play's serious reception, and a choose checklist of severe works.
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Additional resources for The Methuen Drama Guide to Contemporary Irish Playwrights
The Consequences of Lightning (Dublin: New Island, 2009). Secondary Sources Aragay, Mireira, ‘Reading Dermot Bolger’s The Holy Ground: National Identity, Gender and Sexuality in Post-Colonial Ireland’, Links & Letters, Vol. 4 (1997), pp. 53–64. Bolger, Dermot, ‘Author’s Note’, in his A Dublin Quartet (London: Penguin, 1992), pp. ix–x. —, ‘Dermot Bolger in Conversation with Jim O’Hanlon’, in Lilian Chambers et al. (eds), Theatre Talk: Voices of Irish Theatre Practitioners (Dublin: Carysfort Press, 2001).
It mocks religious zealotry with the comic stock characters of the Mormons as well as with the missionaries of the Legion of Mary and reinforces its comic critique of the Catholic Church by revealing the precious relic as a fraud and by recounting George’s disillusioning experiences with the Church. 22 DERMOT BOLGER In High Germany (1990) Largely complying with the conventions of stage realism, the one-act monologue captures Eoin, a passionate Irish soccer fan in his early thirties, who lives in Hamburg, in a critical moment of his life: he returns from the 1988 European Championship, in which Ireland, participating in the championship for the first time, amazingly beat England in this ‘Brit sport’ (p.
249–56. html>. Notes 1. Margaret Llewellyn-Jones considers Arthur a positive male role model who offers an alternative version of male heroism in a rough urban context (Margaret LlewellynJones, Contemporary Irish Drama, p. 105). 35 The Methuen Drama Guide to Contemporary Irish Playwrights 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 36 Mary J. Hickman, ‘Migration and Diaspora’, p. 119. See Eberhard Bort, ‘Come on You Boys in Green’, p. 94. See Mireira Aragay, ‘Reading Dermot Bolger’s The Holy Ground’.