Notes on Contributors

Transcription

1 Notes on Contributors CSILLA BERTHA, a member of the editorial advisory board of IUR, the editorial board of HJEAS, and a founding member of CISLE, teaches at University of Debrecen, Hungary. She is author of Yeats the Playwright (1988, in Hungarian), the first book on Yeats s drama in Hungary, and co-author with Donald E. Morse of Worlds Visible and Invisible (1994). Her co-edited volumes on Irish literature include More Real than Reality (1991), The Celebration of the Fantastic (1992), A Small Nation s Contribution to the World (1993), and Brian Friel s Dramatic Artistry (2006). She has also edited Hungarian poetry in English translation, Homeland in the Heights (2000), and with Donald E. Morse co-translated Transylvanian-Hungarian plays into English, Silenced Voices (2008). CATHY LEENEY lectures in Drama Studies in the UCD School of English, Drama and Film. She trained as a director in London, and established and is director of the M.A. in Directing for Theatre at UCD. She has published on Irish women playwrights in the twentieth and twenty-first centuries, on contemporary Irish drama and theatre practices. Her interest in theatre scenography contributed to Ireland s participation for the first time in the Prague Quadrennial International Exhibition of Theatre Design and Architecture in FRANK McGUINNESS is Professor of Creative Writing in the UCD School of English, Drama and Film. His many plays include The Factory Girls, Observe the Sons of Ulster Marching Towards the Somme, Dolly West s Kitchen, Speaking Like Magpies, and The Hanging Gardens. His work has received Irish PEN, Tony, Evening Standard, Writers Guild, and New York Drama Critics Circle awards. Widely acclaimed and performed adaptations include Lorca s Yerma, Chekhov s Three Sisters and Uncle Vanya, Brecht s The Threepenny Opera, Sophocles Electra, and Oedipus, Ibsen s Hedda Gabler, John Gabriel Borkman, and The Lady from the Sea, and James Joyce s The Dead. He wrote the libretto for Julian Anderson s opera The Thebans; his screenplays include The Hen House, A Short Stay in Switzerland and Talk of Angels and in 2013 his novel Arimathea was published. Irish University Review 45.1 (2015): xi xv DOI: /iur # Edinburgh University Press xi

2 IRISH UNIVERSITY REVIEW ANTHONY ROCHE is a Professor in the School of English, Drama and Film at University College Dublin. He is the author of Contemporary Irish Drama (rev. ed. 2009), Brian Friel: Theatre and Politics (2011) and Synge and the Making of Modern Irish Drama (2013) and has edited The Cambridge Companion to Brian Friel (2006). His The Irish Dramatic Revival has just been published by Bloomsbury/Methuen Drama in their Critical Companions series. He is the Chair of the Management Board of the Irish University Review. ANN SADDLEMYER, Professor Emerita of University of Toronto, is author of, among others, Becoming George: The Life of Mrs. W.B. Yeats (2002), editor of the award-winning Collected Letters of John Millington Synge (1968) and, most recently, W.B. Yeats and George Yeats The Letters (2011). She has published considerably on the works of Synge, Gregory, Yeats, and other Irish writers and also on Canadian theatre. Her many honours include honorary doctorates at several universities and honorary membership of the Royal Irish Academy. As chair of IASAIL , she worked closely and happily with Chris Murray. SHIVAUN O CASEY is the daughter of the writer Sean O Casey and the executor of his work. She had a muddled carrier in theatre: working in scenic design, property, and hat making, acting, directing, and producing. She is now a grandmother who also writes, draws, and paints. SHAUN RICHARDS is Professorial Research Fellow at St Mary s University College, Twickenham. Co-author of the seminal Writing Ireland: Colonialism, Nationalism and Culture (1988), and editor of The Cambridge Companion to Twentieth-Century Irish Drama (2004), he has published widely on Irish theatre in major journals and edited collections. His most recent publication is Mapping Irish Theatre: Theories of Space and Place (Cambridge University Press, 2013) which he co-authored with Chris Morash. MASARU SEKINE, Professor Emeritus at Waseda University, Japan, is a trained Noh actor and theatre director who worked with Roma Kyogen Ichiza theatre company ( ) and Theatre Project Si ( ). He was the founder of IASAIL-JAPAN in His publications include Ze-Ami and his Theories of Noh Drama (Colin Smythe, 1985), Kyogen and Commedia dell arte Dynamism of Cultural Fusion (in Japanese), co-authored with Christopher Murray Yeats and Noh A Comparative Study (Colin Smythe, 1990). He edited Irish Writers and Society at Large (1985), Irish Writers and the Theatre (1986), and co-edited with Okifumi Komesu Irish Writers and Politics (1991). xii

3 NOTES ON CONTRIBUTORS THOMAS KILROY has written sixteen plays for the stage and a prize-winning novel, The Big Chapel. In the 2004 Irish Times Theatre Awards he received a Special Tribute for his contribution to theatre. He was presented with the PEN Ireland Cross Award for his contribution to Literature in He is Emeritus Professor of Modern English at NUI Galway and an Honorary Fellow of Trinity College Dublin. IAN R. WALSH is a Lecturer in Drama and Theatre Studies at NUI Galway. He is the author of Experimental Irish Theatre, After W.B Yeats (Palgrave Macmillan, 2012) and is co-editor with Mary Caulfield of The Theatre of Enda Walsh (Carysfort Press, 2015). RHONA TRENCH is Programme Chair and lecturer in Performing Arts at IT Sligo. She has published widely on Irish theatre. Her book Bloody Living: The Loss of Self in the Plays of Marina Carr was published in She is Vice-President of the Irish Society for Theatre Research. Her latest monograph is entitled Frontiers of Representation: The Theatre of Blue Raincoat, published by Carysfort Press. LIONEL PILKINGTON is Personal Professor of English at NUI Galway. He is the author of Theatre and the State in Twentieth-Century Ireland: Cultivating the People (Routledge, 2001) and Theatre & Ireland (Palgrave, 2010). EAMONN JORDAN is Senior Lecturer in Drama Studies at University College Dublin. He edited Theatre Stuff: Critical Essays on Contemporary Irish Theatre in 2000, co-edited with Lilian Chambers The Theatre of Martin McDonagh: A World of Savage Stories (2006), and The Theatre of Conor McPherson: Right beside the Beyond (2012). He has written three monographs The Feast of Famine: Plays of Frank McGuinness (1997), Dissident Dramaturgies: Contemporary Irish Theatre (2010), and From Leenane to LA: The Theatre and Cinema of Martin McDonagh (2014). PAIGE REYNOLDS is Professor in the Department of English at the College of the Holy Cross in Worcester, MA. The author of Modernism, Drama, and the Audience for Irish Spectacle (Cambridge University Press, 2007), and editor of Irish Things, a 2011 special issue of Eire-Ireland, she has published on topics related to modernism, modern and contemporary Irish literature, drama and performance, and periodical culture. She is editor of the forthcoming collection Modernist Afterlives in Irish Literature and Culture (Anthem Press), and is completing a monograph entitled Colleen Modernism: Experience and Experiment in Irish Women s Writing. xiii

4 IRISH UNIVERSITY REVIEW RICHARD RANKIN RUSSELL is Professor of English at Baylor University in Texas, where he was the 2012 Centennial Professor. He directs the Beall Poetry Festival ( and serves as Graduate Program Director. His books include, as editor, Martin McDonagh: A Casebook (Routledge, 2007), Peter Fallon: Poet, Publisher, Editor, and Translator (Irish Academic Press, 2013), and Bernard MacLaverty: New Critical Readings (Bloomsbury, 2014). He is the author of Bernard MacLaverty (Bucknell, 2009), Poetry and Peace: Michael Longley, Seamus Heaney, and Northern Ireland (Notre Dame, 2010), Modernity, Community, and Place in Brian Friel s Drama (Syracuse, 2013), and Seamus Heaney s Regions (Notre Dame, 2014). His Seamus Heaney: A Critical Introduction will appear from Edinburgh University Press in NICHOLAS GRENE is Professor of English Literature at Trinity College Dublin, a Senior Fellow of the College, and a Member of the Royal Irish Academy. He has published widely on Shakespeare and on Irish literature: his books include Bernard Shaw: a Critical View (Macmillan 1984), Shakespeare s Tragic Imagination (Macmillan, 1992), The Politics of Irish Drama (Cambridge University Press, 1999), and Shakespeare s Serial History Plays (Cambridge University Press, 2002). His most recent publications include Yeats s Poetic Codes (Oxford University Press, 2008), the New Mermaids edition of Major Barbara (A.C. Black 2008), Synge and Edwardian Ireland (Oxford University Press, 2011), co-edited with Brian Cliff, and a memoir Nothing Quite Like It: an American-Irish Childhood (Somerville Press, 2011). His next book, Home on the Stage: Domestic Space in Modern Drama was published by Cambridge University Press in autumn He has been visiting professor at the University of New South Wales, Dartmouth College, and the University of Paris 3 Sorbonne, and has been an invited lecturer in over 20 countries. GARRY HYNES founded Druid in 1975 with Marie Mullen and Mick Lally, and has worked as its Artistic Director from 1975 to 1991, and from 1995 to date. From 1991 to 1994 she was Artistic Director of the Abbey Theatre, Dublin. One of Ireland s leading directors, she has been given multiple honours for her work, including a Tony Award for her production of Martin McDonagh s The Beauty Queen of Leenane in 1998, and honorary doctorates from NUI Galway, Trinity College Dublin, and University College Dublin. She won international acclaim for her productions of DruidSynge (2005) and DruidMurphy (2012). She is an Adjunct Professor at NUI Galway and an Honorary Member of the RHA xiv

5 NOTES ON CONTRIBUTORS LISA FITZPATRICK is Senior Lecturer in Drama at University of Ulster, where she is also Head of the Research Graduate School. She is a founding member of the Irish Society for Theatre Research, and convenes its Gender and Performance Working Group. Her research focuses on violence in performance, women s writing, and feminism in Ireland. She has published in Performance Research, CTR, Modern Drama, L Annuaire Théâtral and has edited collections on Performing Violence and Performing Feminisms in Contemporary Ireland with Carysfort Press. ANNA McMULLAN is Professor of Theatre in the Department of Film, Theatre and Television, University of Reading. She is Principal Investigator of the UK Arts and Humanities Research Council-funded research project on Staging Beckett: the Impact of Productions of Samuel Beckett s Plays on Theatre Practice and Cultures in the UK and Ireland ( ). She has published on Beckett, including Performing Embodiment in Samuel Beckett s Drama (London: Routledge, 2010), and on Irish theatre including co-editing The Theatre of Marina Carr: before rules was made (Dublin: Carysfort Press, 2003) with Cathy Leeney, and a special issue of Australasian Drama Studies on Performing Ireland with Brian Singleton (2003). TRISH McTIGHE is currently a post-doctoral researcher on the AHRC sponsored Staging Beckett Project at the University of Reading, UK. Her book, The Haptic Aesthetic in Samuel Beckett s Drama, was published with Palgrave in 2013 and she has published in several international journals on haptics, corporeality, and technology in performance. MONICA CULLINAN, recently retired, was Subject Librarian for the School of English, Drama and Film in the James Joyce Library, UCD, for many years. She previously compiled and published bibliographies of the works of Dr Margaret MacCurtain (1997 & 2008) and Irish women writers (1995). xv