Notes. Introduction. 1 Experimental Contexts

Notes Introduction 1. The contributions made to cultural life in Ireland by Director Jim Fitzgerald at the Globe Theatre demand attention, and the work of Phyllis Ryan at the Gemini Theatre should also be analysed in such terms. More research is needed on the smaller Irish theatre venues that have made important contributions to the cultural life of the country, venues such as the Belfast Arts Theatre, The Studio Club, The Lantern Theatre, The Gemini Theatre, The Players Theatre and the Gas Company Theatre, to name but a few. 1 Experimental Contexts 1. See Hugh Hunt (1979), Peter Kavanagh (1950), Christopher Morash (2000), Christopher Murray (1997), Robert Welch (1999). 2. As Minister for Finance in 1925, Ernest Blythe, both a nationalist and admirer of the Abbey Theatre, was instrumental in securing the government grant for the theatre; he was to become a director in 1935 and managing director from 1941 to 1972. 3. See Clair Wills, That Neutral Island, A Cultural History of Ireland During the Second World War, (London: Faber and Faber, 2007); Christopher Fitz-Simons, The Boys, A Biography of Micheal Mac Liammóir and Hilton Edwards, (Dublin: New Island, 2002); Brian Fallon, The Age of Innocence: Irish Culture 1930 1960, (Dublin: Gill and Macmillan, 1998). 4. Experimental is understood as that which seeks freshness in the writing and production of plays rather than the traditional formulas for commercial or conventional success. From Theatre Language: A Dictionary of Terms in English from Medieval to Modern Times ed. by Walter Parker Bowman and Robert Hamilton Ball (New York: Theatre Art Books, 1961), p. 127. 5. I am aware of the complicated reception and conception of mimesis in theatre studies most comprehensively charted in Mimesis and Drama, ed. by James Redmond (Cambridge: Cambridge University Press, 1980). I am referring to the term in its most common usage. This is defined as A literary work that is understood to be reproducing an external reality. Chris Baldrick, Mimesis in The Oxford Dictionary of Literary Terms, <http://www.oxfordreference.com> [accessed 17 June 2008] 6. Elinor Fuchs, The Death of Character: Perspectives on Theater after Modernism (Bloomington: Indiana University Press, 1996); Erika Fischer-Lichte, The 180

Notes 181 Show and the Gaze of Theatre: A European Perspective (Iowa: University of Iowa, 1997); Jean-Pierre Sarrazac, L Avenir du Drame (Belfort: Circe, 1998); Hans-Thies Lehmann, Postdramatic Theatre, trans. Karen Jürs-Munby (London and New York: Routledge, 2006). 7. I have welded the two terms modernity and postmodernity here following Fischer-Lichte who does not hold modernism and postmodernism to have an antagonistic relationship conceptually but to be different only in terms of historical reception. She writes: The essential difference between modernism/avant-gardism and postmodernism seems to lie far more in the fact that the postulate formulated at the beginning of the century as an expression and consequence of a far reaching culture crisis has long been a reality in the eighties; since the sixties cultural change has occurred de facto. See Fischer-Lichte (1997), p. 273. 8. Term introduced by Derrida, combining the French for difference and deferral. It is used to suggest both the Saussurean emphasis on meaning as the function of differences or contrasts within a network of terms, and also the endless deferral of any final fixed point or privileged, meaning determining relationship with the extra-linguistic world. Simon Blackburn, Différance in The Oxford Dictionary of Philosophy, <http://www.oxfordreference.com> [accessed 17 June 2008]. 9. Fischer-Lichte claims that in response to the crisis of language experienced at the beginning of the twentieth century there was a retheatricalisation of theatre which she qualifies as the attempt to deconstruct the traditional system of semiotic systems employed in Western culture and to restructure the whole system as well as its individual subsystems in order to open possible solutions to this crisis. See Fischer-Lichte, (1997), p. 62. 10. See Murray(1997), Maxwell (1984), Morash (2000), Pilkington (2001) and Kavanagh (1950). 11. The most notorious publication of ape-like Irishmen was in Punch magazine. See R. F. Foster, Paddy and Mr. Punch: Connections in Irish and English History (London: Penguin, 1993). 12. This phrase is taken from Wolfgang Heise who is quoted by Heiner Müller. Müller interprets this laboratory for the social imagination as a world of images... that does not lend itself to conceptual formation and that cannot be reduced to a one-dimensional metaphor. Heiner Muller, 19 answers by Heiner Müller in The Twentieth Century Performance Reader, 2nd edition, ed. Michael Huxley and Noel Witts, (London and New York: Routledge, 2002), pp. 314 319 (p. 315). 13. John Simpson, Laboratory in Oxford English Dictionary <http://dictionary.oed.com> [accessed 17 June 2008]. 14. See Rosemary Cullen Owens, The Policisation of Women Mid-Twentieth Century, A Social History of Women in Ireland (Dublin: Gill and MacMillan, 2005), pp. 280 316.

182 Notes 2 Experiments in Representation: Jack B. Yeats 1. Modernity, here, is deemed to have begun at the end of the nineteenth century with Ibsen s naturalistic dramas. 2. Ria Mooney, programme note for the production of Mervyn Wall s Alarm Among Clerks, which opened the Abbey Experimental Theatre on 5 April 1937. 3. This is a term from ballet which literally means step of the Basques. It is halfway between a step and a leap, taken on the floor (glissé) or with a jump (sauté); it can be done moving forwards or backwards. 4. Original Performance Typescript of Harlequin s Positions, National Gallery of Ireland, Jack B. Yeats Archive, Parcel 60. 5. All the sketches are preserved in the The National Gallery of Ireland, Jack B. Yeats Archive, Parcel 60. 6. This is largely due to its early publication in 1943 but also its inclusion in a collection of Irish plays entitled The Genius of the Irish Theatre, ed. Sylvan Barnet, Morton Berman and William Burto (New York: New American Library, 1960), pp. 212 244. 7. See Purser (1991), pp. 89 102 for such an Aristotelian reading of the play. 8. The play s action is not driven by a conflict over land ownership, marriage or both. 9. Lynda Nead critiques Clark s view of the nude as an ideal of art as an oppressive concept that tries to control, regulate and contain the female subject, drawing on Julia Kristeva s concept of abjection in her argument; see The Female Nude, Art, Obscenity and Sexuality (London; Routledge, 1992), pp. 5 33. 10. For further exploration of this, see Lionel Pilkington, Theatre and State, in Twentieth Century Ireland: Cultivating the People, (London: Routledge, Keegan and Paul, 2001). 3 Experiments in Gender: Elizabeth Connor 1. Troy also wrote another novel that remained unpublished at the time of her death. Her daughter Janet Helleris, found the unpublished manuscript Fly By These Nets in her mother s papers. In 2001 this manuscript, written in English, was translated into German and published by Deutscher Taschenbuch Verlag, Munich as Das Meer ist Music. It has not yet been published in English. 2. She is mentioned briefly in Anthony Roche 1940 2000, Margaret Kelleher and Philip O Leary (eds), The Cambridge History of Irish Literature, Volume 2, 1890 2000. (Cambridge: Cambridge University Press, 2006), pp. 481 2. 3. Wanda Balzano, The Veiled Subject: Figuring the Feminine through Una Troy s/elizabeth Connor s The Apple and Siobhan Piercy s Screenprints, Women s Studies Review, 8, (December 2002), pp. 71 86; Elizabeth

Notes 183 Connor s The Apple : Between Eve and Prometheus in Insulae/lslands/ Ireland: The Classical World and the Mediterranean, ed. Giuseppe Serpillo and Donatella Abbate Badin. (Cagliari: Tema, 1996), pp. 133 138. 4. Ann M. Butler, The Marginalized Woman in Una Troy s Fiction: Authenticating the Outsider. Panel paper presented at Women in Irish Culture and History Conference, University College Dublin, 20 22 October 2006 and Una Troy s Fictional Exploration of Film Making in Ireland at Into the Heartland of the Ordinary Second Galway Conference of Irish Studies 2009, 10 13 June 2009, National University of Ireland, Galway. 5. I prefer Una Troy s pseudonym, Elizabeth Connor in this study as this is the name under which the play was authored. 6. Ria Mooney, Letter to Una Troy Ria Mooney National Library of Ireland, Una Troy Papers, Ms 35,687 (9). 7. Elizabeth Connor, An Apple a Day, original typed manuscript housed in The National Library of Ireland, Una Troy Papers, Ms 35,687(5), p. 40. Subsequent quotations from An Apple a Day are identified in the text by the play title and page number from the original manuscript. 8. Ernest Blythe, Letter to Una Troy, 1 June 1942, National Library of Ireland, Una Troy Papers, Ms 35,687 (9). 9. I refer here to comedies such as It Happened One Night (1934), Bringing Up Baby (1938), My Man Godfrey (1936), The Philadelphia Story (1940). 10. For further information on this read, Rosemary Cullen Owens, The Politicisation of Women Mid-Twentieth Century, A Social History of Women in Ireland, (Dublin: Gill and MacMillan, (2005), pp. 280 316. 4 Experiments in Verse: Donagh MacDonagh 1. This cartoon is entitled Dublin Culture and first appeared in the Irish Times in 1940. It is reprinted in John Ryan s Remembering How We Stood: Bohemian Dublin at Mid-Century, (Dublin: Lilliput Press, 1987), p. 76. 2. Tony Gray, Mr Smyllie, Sir, (Dublin: Gill and Macmillan, 1991), p. 164. For more on the Palace Bar Crowd read Gray s chapter The Palace Bar Crowd in Mr Smyllie, Sir, pp. 67 79. 3. See Brooks Atkinson, Burgess Meredith Appears in a Musical Fantasy Entitled Happy as Larry at the Cornet, New York Times, 7 January 1950, p. 11. 4. For a full list of broadcasts and productions by The Dublin Verse Speaking Society and The Lyric Theatre see Tina Hunt Mahony, The Dublin Verse- Speaking Society and the Lyric Theatre Company, Irish University Review, 4 (1) (1974), pp. 65 73. 5. See Fiona Brennan, George Fitzmaurice: Wild In his Own Way (Dublin: Carysfort Press, 2005), p. 146. 6. When first published by Maurice Fridberg s Hour Glass publishing house, Happy as Larry bore the subtitle; A Play in Four Scenes. In this edition the play is broken into four scenes with the Fates episode as additional if

184 Notes the Director/Producer so desires it. However, in Martin Browne s edition, based on the performance of the play at the Mercury Theatre, it is divided into a more conventional three act structure. All performances of the play included the Fates episode. The Friedberg edition was printed before the play had ever seen production and it therefore tries to present the play as a coherent piece of literature by isolating the Fates episode and giving the illusion of an uninterrupted melodramatic plot. This edition is much the poorer for doing this. 7. The story came to Synge from a storyteller, Pat Dirane, he met while on the Aran Islands. Dirane s tale is of an adulteress wife and a husband who feigns death to catch her out. It is recorded by Synge in his Aran Islands. See J. M. Synge, Aran Islands (London: Penguin, 1992), pp. 26 28. 5 Experiments in Theatre: Maurice Meldon 1. For an account of the history of the big house see essays by Guy Fehlmann, Breandan MacAodha and Joy Rudd in The Big House in Ireland, Reality and Representation, ed. Jaqueline Genet (Dingle: Brandon Books, 1991) and Otto Rauchbauer, The Big House and Irish History: An Introductory Sketch in Ancestral Voices: The Big House in Anglo-Irish Literature: A Collection of Interpretations, ed. Otto Rauchbauer, (Dublin: The Lilliput Press, 1992), pp. 1 15. 2. The Land Commission was established in 1923 to appropriate and redistribute property held by the Ascendancy. By 1932, 450,000 acres were distributed to 2400 families, according to R. F. Foster, Modern Ireland 1600 1972, (London: Allen Lane, 1988), p. 522. 3. See Richard Pine, Friel s Irish Russia, The Cambridge Companion to Brian Friel, ed. Anthony Roche, (Cambridge: Cambridge University Press, 2006), pp. 142 153. 4. Meldon never admitted directly the influence of Chekhov in the writing of The House Under Green Shadows but he did admit Chekhov s influence on his second play Aisling in a programme note to this play. This note is included in the published text: Aisling: A Dream Analysis, (Dublin: Progress House, 1959). 5. See reviews for both plays in Irish Times, also D Arcy mentions the success of both in her memoirs D Arcy (2005), pp. 156 196. 6. Barry Cassin, Interview, Dublin, 15 February 2007. 7. For a fuller description of this event see Christopher Morash, A History of Irish Theatre, 1601 2000, (Cambridge: Cambridge University Press, 2002), p. 210. 8. For an account of this development see Christopher Fitz-Simon, An Tostal and the First Dublin Theatre Festival: a Personal Memoir, Interactions: Dublin Theatre Festival 1957 2007, ed. Nicholas Grene and Patrick Lonergan with Lilian Chambers, (Dublin: Carysfort Press, 2008), pp. 205 222.

Notes 185 9. Barry Cassin claims this was Meldon s intention. Cassin s performance as Mullarkey was an imitation of Patrick Kavanagh whom he knew well. He also tells of Patrick Kavanagh attending the performance one night and sitting in the front row and smoking throughout in silence. Barry Cassin, Interview, Dublin, 15 February 2007. 10. Barry Cassin, Interview, Dublin, 15 February 2007. 11. This note is reprinted in Maurice Meldon, Aisling: A Dream Analysis, (Dublin: Progress House, 1959). 12. Richard Kearney writes of the difference between historical time and mythic time: The mythic appeal to the Sacred Time of the originating heroes of the nation or community is, of course, an appeal to an order outside of historical time (understood as a linear sequence of contingent events). By virtue of their repeatability, the mythic arts of the founding fathers become timeless; they operate according to ritualistic and circular paradigms which redeems from the depressing facts of the present; they bring history to a standstill and enable us to attend to ancestral voices; they make us contemporaries with the dead generations of the past, transmuting the discontinuities of our empirical existence into the unbroken continuity of an imaginary essence. (Kearney 1985: p. 62). 13. The stage direction introducing the Parish Priest in Act Two reads, The Parish Priest enters. A middle-aged man, not unlike the Clergyman of Act One. (pp. 41 42). 14. Terence Brown writes of Ireland post-independence, the twenty-six counties had remained in many aspects a social province of the United Kingdom. He elaborates: English newspapers and books which had not met with the censors disapproval circulated freely; the BBC was audible throughout much of the country. Domestic architecture, home furnishings, styles of dress, were all influenced by English tastes. Success in England, whether on the boards of a West End theatre or on the pitches of the English First Division, was almost unconsciously esteemed above success in Dublin. Terence Brown, Ireland: A Social and Cultural History 1922 2002, (London: Harper Perennial, 2004), p. 205. 15. Barry Cassin, Interview, Dublin, 15 February 2007. 16. The Daghdha was a leading mythic character in Irish Literature, one of the Tuatha De Danann, who was demonstrably the principle deity in ancient times. He is usually referred to with the definite article namely an daghdha (the Daghada). 17. Meldon writes a note of general references at the beginning of the playtext in which he writes of queen Boann, Known as the wife of the Daghdha. Her name survives in the river Boyne, Meldon (1954), p. 146. 6 Continuing Experimentation 1. Simpson writes, Some Paris mini-theatres and a couple of tiny art theatres in Dublin the 37 and the Studio, which had been running in Georgian basements gave me inspiration. (Simpson 1962, p. 5).

186 Notes 2. This concept was promoted by the playwright himself who liked to appear sui generis. Writing in a letter published in Points in 1951 Behan wrote: Cultural activity in present-day Dublin is largely agricultural. (Quoted in Brannigan 2002, p. 98). 3. See Murray 1997, p. 159. 4. See Roche 2009, pp. 13 41. 5. Roche writes: Outside each man s cell are cards giving the name, age and religion of the occupant which, from the point of view of the audience, might as well be blank since they are indecipherable. (Roche 2009, p. 27). 6. Simpson writes of lighting in the Pike, I achieved something in the nature of a 3-D theatre, making the audience feel they were a part of the play and involving them in its action and atmosphere... Once you can establish the atmosphere, everything else follows. But it does lead to extremes in audience reaction, since no one can sit outside the play and enjoy or criticise it on a purely intellectual basis. They are emotionally involved and feel rather than think, that the play is wonderful or disgusting, deeply moving or degrading. (Simpson 1962, p. 7). 7. Thomas Kilroy, A Generation of Playwrights, in Theatre Stuff: Critical Essays on Contemporary Irish Theatre, ed. Eamonn Jordan, (Dublin: Carysfort Press, 2000). 8. T. F. Mac Intyre, The Plays of Maurice Meldon and M.J Molloy, (Unpublished MA Thesis, University College Dublin, 1957). 9. Bernadette Sweeney and Marie Kelly (eds) The Theatre of Tom Mac Intyre: Strays from the Ether, (Dublin: Carysfort Press, 2010). 10. Anthony Roche, Brian Friel: Theatre and Politics, (London: Palgrave Macmillan, 2011).

Select Bibliography Allen, Nicholas, Suan Screibman and Lois Oppenheim, Samuel Beckett: A Passion for Paintings (Dublin: National Gallery of Ireland, 2006) Anderson, Benedict, Imagined Communities: Reflections on the Origin and Spread of Nationalism (London: Verso, 1991) Armstrong, Gordon, Samuel Beckett, W. B. Yeats, and Jack B. Yeats: Images and Word (London: Bucknell University Press, 1990) Arnold, Bruce, Jack Yeats (New Haven: Yale University Press, 1998) Atkinson, Brooks, Burgess Meredith Appears in a Musical Fantasy Entitled Happy as Larry at the Coronet, New York Times, 7 January 1950, p. 11 Bakhtin, Mikhail, Rabelais and his World, trans. Helen Iswolsky (Cambridge: Cambridge University Press, 1968) Bakhtin, Mikhail, Problems of Dostoevsky s Poetics, ed. and trans. Caryl Emerson (Minneapolis, MN: University of Minnesota Press, 1984) Baldrick, Chris, Mimesis in The Oxford Dictionary of Literary Terms, www. oxfordreference.com [accessed 17 June 2008] Balzano, Wanda, The Apple : Irish Palimpsest of the Feminine: From Sin to Apocalypse and Beyond (Unpublished Doctoral Thesis, University College Dublin, 1998) Balzano, Wanda, The Veiled Subject: Figuring the Feminine through Una Troy s/elizabeth Connor s The Apple and Siobhan Piercy s Screenprints, Women s Studies Review, 8 (December 2002), 71 86 Barnet, Sylvan, Morton Berman and William Burto, eds, The Genius of the Irish Theatre (New York: New American Library, 1960) Barnett, David, Reading and Performing Uncertainty: Michael Frayn s Copenhagen and the Postdramatic Theatre, Theatre Research International, 30 (2) (2005), 139 149 Barnett, David, Staging the Indeterminate: Brian Friel s Faith Healer as a Postdramatic Theatre-Text, Irish University Review, 36 (2) (2006), 374 388 Beckett, Samuel, The Complete Dramatic Works (London: Faber and Faber, 1986) Begam, Richard, Beckett and the End of Modernity (Stanford: Stanford University Press, 1996) Behan, Brendan, The Complete Plays, (London: Methuen 1978) Behan, Brendan, An Giall/The Hostage, ed. and trans. Richard Wall (Washington: Catholic University of America Press, 1987) Bell, Sam Hanna, The Theatre in Ulster: A Survey of the Dramatic Movement in Ulster from 1902 (Dublin: Gill and MacMillan, 1972) Blackburn, Simon, Bad Faith in The Oxford Dictionary of Philosophy, www. oxfordreference.com [accessed 17 June 2008] Blackburn, Simon, Différence in The Oxford Dictionary of Philosophy, www. oxfordreference.com> [accessed 17 June 2008] 187

188 Select Bibliography Blythe, Ernest, Letter to Una Troy, 1 June 1942, National Library of Ireland, Una Troy Papers, Ms 35,687 (9) Bort, Eberhard, ed., The State of Play: Irish Theatre in the Nineties (Trier: Wissenschaftlicher Verlag Trier, 1996) Bowen, Evelyn, Theatre The Bell, 5 (3) (1942), 144 147 Bowman, Walter Parker and Robert Hamilton Ball, eds, Theatre Language: A Dictionary of Terms in English from Medieval to Modern Times (New York: Theatre Art Books, 1961) Brannigan, John, Brendan Behan: Cultural Nationalism and the Revisionist Writer (Dublin: Four Courts, 2002) Brecht, Bertolt, Brecht on Theatre: The Development of an Aesthetic, ed. and trans. John Willett (London: Methuen, 1964) Brennan, Fiona, George Fitzmaurice: Wild In his Own Way (Dublin: Carysfort Press, 2005) Brown, Terence, Ireland: A Social and Cultural History, 1922 2002 (London: Harper Perennial, 2004) Browne, E. Martin, ed., Four Modern Verse Plays (Harmondsworth: Penguin, 1957) Butler, Ann M. The Marginalized Woman in Una Troy s Fiction: Authenticating the Outsider. Panel paper presented at Women in Irish Culture and History conference, University College Dublin, 20 22 October 2006 Butler, Ann M. Una Troy s Fictional Exploration of Film Making in Ireland. Paper presented at Into the Heartland of the Ordinary, Second Galway Conference of Irish Studies 2009, National University of Ireland, Galway, 10 13 June 2009 Carlson, Susan, Women and Comedy: Rewriting the British Theatrical Tradition (Ann Arbor, MI: University of Michigan Press, 1991) Case, Sue Ellen, ed., Performing Feminisms (Baltimore: John Hopkins University Press, 1990) Cassin, Barry, Interview, Dublin, 15 February 2007 Chesler, Phyllis, Women and Madness (New York: Avon Books, 1973) Clark, Kenneth, The Nude: A Study of Ideal Art (London: John Murray, 1957) Clarke, Austin, Verse Speaking, The Bell, 15 (3) (1947), 52 56 Clarke, Austin, A Penny in the Clouds: More Memories of Ireland and England (London: Routledge and Kegan Paul, 1968) Clarke, Brenna Katz, The Emergence of the Irish Peasant Play at the Abbey Theatre (Ann Arbor, MI: UMI Research Press, 1982) Connelly, Joseph F., Jack B. Yeats: Ringmaster, Eire-Ireland 10 (2) (1975), 136 141 Connor, Elizabeth, An Apple a Day, National Library of Ireland, Una Troy Papers, Ms 35,687 (5) Counsell, Colin and Laurie Wolf, eds, Performance Analysis (London: Routledge, 2001) Cronin, Anthony, No Laughing Matter: the Life and Times of Flann O Brien (London: Grafton, 1989)

Select Bibliography 189 Cronin, Anthony, Samuel Beckett: The Last Modernist (London: Harper Collins, 1996) D Arcy, Margaretta, Loose Theatre: In and Out of my Memory (Victoria, BC: Trafford Publishing, 2005) Davis, Tracy A., The Context Problem, Theatre Survey, 45 (2004), 203 209 Davis, Wes, Writing in Sand: The Dramatic Art of Jack B. Yeats, The Princeton Library Chronicle, 67 (1/2) (Autumn 2006 Winter 2007), 399 426 de Búrca, Seìamus, Brendan Behan: A Memoir, (Dublin: P. J. Bourke, 1985) de Valera, Éamon, Speeches and Statements by Éamon de Valera, 1917 1973, ed. Maurice Moynihan (Dublin: Gill and Macmillan, 1980) Deane, Seamus, Celtic Revivals: Essays in Modern Irish Literature 1880 1980 (London: Faber, 1985) Diamond, Elin, Unmaking Mimesis: Essays on Feminism and Theatre (London: Routledge, 1997) Dickson, A., Art and Literature (Harmondsworth: Penguin, 1990) Donoghue, Denis, The Third Voice, Modern British and American Verse Drama (Princeton, New Jersey: Princeton University Press, 1959) Dubost, Thierry, The Plays of Thomas Kilroy: A Critical Study (London: McFarland & Co., 2007) Ellis-Fermor, Una, The Irish Dramatic Movement (London: Methuen: 1954) F., R. M, Jack B. Yeats Play at the Peacock, Dublin Evening Mail, 20 April 1949 F., R. M., New Play by Jack Yeats, Dublin Evening Mail, 4 May 1942 Fallon, Brian, An Age of Innocence: Irish Culture 1930 1960 (Dublin: Gill and Macmillan, 1998) Fallon, Gabriel, Four Productions, Irish Monthly, 70 (1942), 468 472 Ferriter, Diarmuid, The Transformation of Ireland 1900 2000 (London: Profile, 2004) Ferriter, Diarmuid, Judging Dev (Dublin: Royal Irish Academy, 2007) Field Day Review, Issue 1 (Dublin: Field Day Publications in association with Keough Institute for Irish Studies, 2005) Finney, Gail, ed., Look Who s Laughing; Gender and Comedy (Langhorne, PA: Gordon and Breach, 1994) Fischer-Lichte, Erika, The Show and the Gaze of Theatre: A European Perspective (Iowa City, IA: University of Iowa Press, 1997) FitzPatrick, Joan Dean, Riot and Great Anger, State Censorship in Twentieth Century Ireland (Madison, WI: University of Wisconsin Press, 2004) Fitz-Simon, Christopher, The Irish Theatre (London: Thames and Hudson, 1983) Fitz-Simon, Christopher, The Boys, A Biography of Micheál Mac Liammóir and Hilton Edwards (Dublin: New Island, 2002) Fitz-Simon, Christopher, ed., Players and Painted Stage, Aspects of Twentieth Century Theatre in Ireland (Dublin: New Island, 2004) Foster, R. F., Modern Ireland 1600 1972 (London: Allen Lane, 1988) Foster, R. F., Paddy and Mr. Punch: Connections in Irish and English History (Harmondsworth: Penguin 1993)

190 Select Bibliography Freedman, Barbara, Staging the Gaze: Postmodernism, Psychoanalysis, and Shakespearian Comedy (Ithaca, NY: Cornell University Press, 1991) Friel, Brian, The Selected Plays of Brian Friel ed. by. Seamus Deane (London: Faber and Faber, 1987) Fuchs, Elinor, Presence and the Revenge of Writing: Re-thinking Theatre after Derrida, Performing Arts Journal, 9, 2/3 (1985), 163 173 Fuchs, Elinor, The Death of Character: Perspectives on Theater after Modernism (Bloomington, IN: Indiana University Press, 1996) Genet, Jaqueline, ed., The Big House in Ireland, Reality and Representation (Dingle, Co. Kerry: Brandon Books, 1991) Gottlieb, Vera and Paul Allain, eds, The Cambridge Companion to Chekhov (Cambridge: Cambridge University Press, 2000) Graham, Colin, Deconstructing Ireland: Identity, Theory, Culture (Edinburgh: Edinburgh University Press, 2001) Graham, Colin and Richard Kirkland, eds, Ireland and Cultural Theory: The Mechanics of Authenticity (London: Macmillan Press, 1999) Gray, Tony, Mr Smyllie, Sir (Dublin: Gill and Macmillan, 1991) Gregory, Augusta, Our Irish Theatre (New York: The Knickerbocker Press, 1914) Grene, Nicholas and Patrick Lonergan with Lilian Chambers, eds, Interactions: Dublin Theatre Festival 1957 2007 (Dublin: Carysfort Press, 2008) Grotowski, Jerzy, Towards a Poor Theatre, ed. Eugenio Barba (London: Methuen, 1969) Harvey, John, Anouilh: A Study in Theatrics (New Haven, CT: Yale University Press, 1964) Hickey, Des and Gus Smith, eds, Flight From the Celtic Twilight, (Indianapolis/ New York: The Bobbs-Merill Company, 1973) Higson, Andrew, The Concept of National Cinema, Screen, 30 (4) (1989), 36 46 Hirschkop, Ken and David Shepherd, eds, Bakhtin and Cultural Theory (Manchester: Manchester University Press, 1989) Hogan, Robert, After the Renaissance: A Critical History of Irish Drama Since The Plough and the Stars (London: Macmillan and Co, 1968) Hogan, Robert and James Kilroy, eds, Laying the Foundations, 1902 1904 (Dublin: The Dolmen Press, 1979) Holloway, Joseph, Joseph Holloway s Irish Theatre, Volume Three 1938 1944, ed. Robert Hogan and Michael J. O Neil (Dixon: Proscenium Press, 1970) Hubert, Henri and Marcel Mauss, Sacrifice: Its Nature and Function (Chicago, IL: University of Chicago, 1964) Hunt, Hugh, The Abbey 1904 1978 (Dublin: Gill and Macmillan, 1979) Huxley, Michael and Noel Witts, eds, The Twentieth Century Performance Reader, 2nd edition, (London and New York: Routledge, 2002) Innes, C. L., Woman and Nation in Irish Literature and Society 1880 1935 (Athens, GA: University of Georgia Press, 1993) Issacharoff, Michael, Space and Reference in Drama Poetics Today 2 (3) (1981), 211 24

Select Bibliography 191 Johnson, Toni O Brien and David Cairns, eds, Gender in Irish Writing (Milton Keynes: Open University Press, 1991) Jordan, Eamonn, The Feast of Famine: The Plays of Frank McGuinness (New York: Peter Lang, 1997) Jordan, Eamonn, ed., Theatre Stuff: Critical Essays on Contemporary Irish Theatre (Dublin: Carysfort Press, 2000) Joyce, James, Ulysses (New York: Random House, 1986) Kavanagh, Peter, The Story of the Abbey Theatre (New York: The Devin-Adair Company, 1950) Kearney, Colbert, The Writings of Brendan Behan (New York: St. Martin s Press, 1977) Kearney, Richard, Postnationalist Ireland: Politics, Culture, Philosophy (London: Routledge, 1997) Kelleher, Margaret and O Leary, Philip, eds, The Cambridge History of Irish Literature, Volume 2, 1890 2000 (Cambridge: Cambridge University Press, 2006) Kelly, Seamus, Lyric Theatre Company Pleases, Irish Times, 2 December 1946 Kelly, Seamus, Happy as Larry Delights in Abbey Revival, Irish Times, 24 June 1947 Kelly, Seamus, New Play By Maurice Meldon Irish Times, 7 April 1953 Kelly, Seamus, Down The Heather Glen in Belfast Arts Theatre, Irish Times, 15 October 1953 Kenneally, Michael, ed., Cultural Contexts and Literary Idioms in Contemporary Irish Literature (Gerrards Cross: Smythe, 1988) Kennedy, Denis, ed., The Oxford Encyclopedia of Theatre and Performance (Oxford: Oxford University Press, 2003) Kiberd, Declan, Inventing Ireland: The Literature of the Modern Nation (London: Jonathan Cape, 1995) Kristeva, Julia, The Kristeva Reader, ed. Toril Moi (Oxford: Blackwell, 1986) Leach, Robert, Directors in Perspective: Vsevolod Meyerhold (Cambridge: Cambridge University Press, 1989) Lee, J. J., Ireland: 1912 1985 Politics and Society (Cambridge: Cambridge University Press, 1989) Lehmann, Hans-Thies, Postdramatic Theatre, trans. Karen Jürs-Munby (London and New York: Routledge, 2006) Leonard, Hugh, Obituary of Maurice Meldon, Irish Times, 13 November 1958 Leventhal, A. J., Dramatic Commentary, The Dublin Magazine, 26 (April June 1951), 42 44 Leventhal, A. J., Dramatic Commentary, The Dublin Magazine, 28 (July September 1953), 32 34 Lloyd, David, Anomalous States, Irish Writing and the Post-colonial Moment (Dublin: Lilliput Press, 1993) Lodge, David, After Bakhtin: Essays on Fiction and Criticism (London: Routledge, 1990)

192 Select Bibliography Lonergan, Patrick and Riana O Dwyer, eds, Echoes Down the Corridor, Irish Theatre Past, Present, and Future (Dublin: Carysfort Press, 2007) M. G., K., Trespassing on the Abbey, Irish Times, 25 July 1953 M., I. Faultless Acting in New Play, Irish Independent, 25 September 1953 M., T., Second Play by Jack Yeats, Irish Press, 20 April 1949 Mac Intyre, T. F., The Plays of Maurice Meldon and M. J. Molloy, (Unpublished M.A. Thesis, University College Dublin, 1957) Mac Reamoinn, Sean, Theatre, The Bell, 16 (6) (1951), 64 72 MacDonagh, Donagh Take It Easy, Irish Times, 30 August 1941 MacDonagh, Donagh, Comment on This poetry speaking..., The Bell, 15 (1) (1947), 65 66 MacDonagh, Donagh, Blue Print Studies: An Irish Quarterly Review, 51 (Winter 1962), 21 528 MacDonagh, Donagh, Behan s Abroad, Being the Subject Matter of a Talk from Radio Eireann Kilkenny Magazine 12 13 (Spring 1965), 55 60 MacDonagh, Donagh, Happy as Larry, A Play in Four Scenes with embellishments by Francis Rose (Dublin: Maurice Fridberg, 1967) MacGreevy, Thomas, Jack B. Yeats: An Appreciation and an Interpretation (Dublin: Victor Waddington Publications Limited, 1945) Mahony, Tina Hunt, The Dublin Verse-Speaking Society and the Lyric Theatre Company, Irish University Review, Special Issue on Austin Clarke, 4 (1) (1974), 65 73 Maxwell, D. E. S., Modern Irish Drama (Cambridge: Cambridge University Press, 1984) Mays, James, Jack B. Yeats: Some Comments on His Books in Irish University Review, 2 (1) (1972), 34 54 McGlone, James, Ria Mooney: The Life and Times of the Artistic Director of the Abbey Theatre, 1948 1963 (London: McFarland & Co, 2002) McGuinness, Nora A., The Literary Universe of Jack B. Yeats (Washington, DC: The Catholic University Press of America Press, 1992) McMullan, Anna, Theatre on Trial: Samuel Beckett s Later Drama (New York: Routledge, 1993) Meldon, Maurice, Purple Path to the Poppy Field in New World Writing, Fifth Mentor Selection (New York: New American Library, 1954), pp. 146 179 Meldon, Maurice, Aisling: A Dream Analysis (Dublin: Progress House, 1959) Meldon, Maurice, The House Under Green Shadows (Dublin: Progress House, 1962) Mercier, Vivian, Beckett/Beckett (London: Souvenir Press, 1990) Meyerhold, Vsevolod, Vsevolod Meyerhold On Theatre, ed. and trans. Edward Braun (London: Eyre Methuen, 1978) Mikhail, E. H., ed., The Abbey Theatre: Interviews and Recollections (London: Macmillan Press, 1988) Mooney, Ria, Letter to Una Troy, 1940, National Library of Ireland, Una Troy Papers, Ms 35,687 (9) Morash, Christopher, A History of the Irish Theatre, 1601 2000 (Cambridge: Cambridge University Press, 2000)

Select Bibliography 193 Morse, Donald and Csilla Bertha, eds, More Real than Reality: An Introduction to the Fantastic in Irish Literature and Art (New York and London: Greenwood Press, 1991) Murphy, Paul, The Myth of Benightedness After the Irish Renaissance: The Drama of George Shiels, Moving Worlds, 3 (Winter 2003), 213 224 Murphy, Paul, Hegemony and Fantasy in Irish Drama, 1899 1949 (Basingstoke: Palgrave Macmillan, 2008) Murray, Christopher, Mirror up to Nation: Twentieth Century Irish Drama (Manchester: Manchester University Press, 1997) Na Copaleen, Myles, That Orchard, Irish Times, 24 March 1953 Nead, Lynda, The Female Nude, Art, Obscenity and Sexuality (London: Routledge, 1992) Nicoll, Allardyce, The World of Harlequin: A Critical Study of the Commedia Dell Arte (Cambridge: Cambridge University Press, 1963) Nowlan, Kevin B. and T. Desmond Williams, eds, Ireland in the War Years and After 1939 51 (Dublin: Gill and Macmillan, 1969) O Connor, Ulick, Brendan Behan, (London: Abacus, 1993) Ó Drisceoil, Donal, Censorship in Ireland, 1939 1945: Neutrality, Politics, and Society (Cork: Cork University Press, 1996) O haodha, Michael, Theatre in Ireland (Oxford: Blackwell, 1974) O Faolain, Sean, Tradition and Creation, The Bell, 2 (1) (1941), 5 12 O Faolain, Sean, The Dail and the Bishops, The Bell, 17 (3) (1951), 5 13 Owens, Rosemary Cullen, A Social History of Women in Ireland (Dublin: Gill and Macmillan, 2005) Parker, Stewart, Stewart Parker Plays 2 (London: Methuen, 2000) Pavis, Patrice, Theatre at the Crossroads of Culture, trans. Loren Kruger (London: Routledge, 1992) Pilkington, Lionel, Theatre and State in Twentieth Century Ireland: Cultivating the People (London; New York: Routledge, 2001) Pine, Richard, Friel s Irish Russia, in The Cambridge Companion to Brian Friel, ed. Anthony Roche (Cambridge: Cambridge University Press, 2006), pp. 142 153 Prendergast, Richard, The Order of Mimesis: Balzac, Stendhal, Nerval, Flaubert (Cambridge: Cambridge University Press, 1986) Purser, John, The Literary Works of Jack B. Yeats (Gerrards Cross: Colin Smythe, 1991) Rauchbauer, Otto, ed., Ancestral Voices: The Big House in Anglo-Irish Literature. A Collection of Interpretations (Dublin: The Lilliput Press, 1992) Redmond, James, ed., Mimesis and Drama (Cambridge: Cambridge University Press, 1980) Redmond, James, ed., The Theatrical Space : Themes on Drama 9 (Cambridge: Cambridge University Press, 1987) Richards, Shaun, ed., The Cambridge Companion to Twentieth Century Irish Drama (Cambridge: Cambridge University Press, 2004) Roche, Anthony, Contemporary Irish Drama: From Beckett to McGuinness (Dublin; Gill and Macmillan, 1994)

194 Select Bibliography Roche, Anthony, ed., The Cambridge Companion to Brian Friel (Cambridge: Cambridge University Press, 2006) Roche, Anthony, Contemporary Irish Drama, 2nd Edition (London: Palgrave Macmillan, 2009) Roche, Anthony, Brian Friel: Theatre and Politics, (London: Palgrave Macmillan, 2011) Ronsley, Joseph, ed., Denis Johnston: A Retrospective (Gerrards Cross: Smythe, 1981) Rose, Marilyn Gaddis, Sub Rosa: The Writings of Jack B. Yeats, Eire Ireland, 3 (2) (1968), 37 47 Rose, Marilyn Gaddis, Solitary Companions in Beckett and Jack B. Yeats, Eire-Ireland, 4 (2) (1969), 66 80 Rose, Marilyn Gaddis, Kindred Vistas of W. B. and Jack B. Yeats Eire-Ireland, 5 (1) (1970), 67 79 Rose, Marilyn Gaddis, Jack B. Yeats: Painter and Poet (Berne: Herbert Lang, and Frankfurt: Peter Lang, 1972) Russo, Mary, The Female Grotesque: Risk, Excess and Modernity (London: Routledge, 1995) Ryan, John, Remembering How We Stood: Bohemian Dublin at Mid-Century (Dublin: Lilliput Press, 1987) Ryan, Ray, ed., Writing in the Irish Republic, Literature, Culture, Politics 1949 1999 (London: Macmillan Press Ltd, 2000) Sarrazac, Jean-Pierre, L Avenir du Drame (Belfort: Circe, 1998) Senelick, Lawrence, Gender in Performance: The Presentation of Difference in the Performing Arts (Hanover, NH: University Press of New England, 1992) Serpillo, Giuseppe and Donatella Abbate Badin, eds, Insulae/lslands/Ireland: The Classical World and the Mediterranean (Cagliari: Tema, 1996) Sheridan, Niall, District Justice Donagh MacDonagh Dies in Dublin Irish Times, 2 January 1968 Sihra, Melissa, ed., Women in Irish Drama; A Century of Authorship and Representation (New York: Palgrave Macmillan, 2007) Skelton, Robin, Themes and Attitudes in the Later Drama of Jack B. Yeats, Yeats Studies 2 (1972), 100 120 Skelton, Robin, Celtic Contraries (Syracuse, NY: Syracuse University Press, 1990) Smyth, Gerry, The Novel and The Nation, Studies in New Irish Fiction (London: Pluto Press, 1997) Smyth, Gerry, Decolonisation and Criticism (London: Pluto Press, 1998) Smyth, Gerry, Irish Studies, Postcolonial Theory and the New Essentialism, Irish Studies Review, 7 (2) (1999), 211 220 Solomon, Alisa, Re-dressing the Canon: Essays on Theater and Gender (London and New York: Routledge, 1997) Staniewski, Wlodzimierz with Alison Hodge, Hidden Territories, The Theatre of Gardzienice (London and New York: Routledge, 2004) Strindberg, August, Six Plays of August Strindberg, trans. Elisabeth Sprigge (New York: Doubleday & Company, 1955)

Select Bibliography 195 Styan, J. L., Modern Drama in Theory and Practice, 3: Expressionism and Epic Theatre (Cambridge: Cambridge University Press, 1981) Sweeney, Bernadette and Kelly, Marie, eds, The Theatre of Tom Mac Intyre: Strays from the Ether, (Dublin: Carysfort Press, 2010) Swift, Carolyn, Stage by Stage (Dublin: Poolbeg, 1986) Synge, J. M., Aran Islands (London: Penguin, 1992) Synge, J. M., The Playboy of the Western World (Oxford: Oxford University Press, 1995) Szondi, Peter, Theory of the Modern Drama, trans. Michael Hays (Minneapolis, MN: University of Minnesota Press, 1987) Turner, Cathy and Synne Behrndt, Performance and Dramaturgy (London: Palgrave, 2007) Turner, Victor, The Ritual Process: Structure and Anti-structure (New York: Aldine de Gruyter, 1995) Velissariou, Aspasia, The Dialectics of Space in Synge s In the Shadow of the Glen, Modern Drama, 36 (3) (1993), 409 419 Weitz, Eric, The Cambridge Introduction to Comedy (Cambridge: Cambridge University Press, 2009) Welch, Robert, The Abbey Theatre 1899 1999 (Oxford: Oxford University Press, 1999) Wessendorf, Markus, The Postdramatic Theatre of Richard Maxwell, http;/ www2.hawaii.edu/~wessendo/maxwell.htm [Accessed 8 September 2008] Whelan, Gerard, Spiked: Church State Intrigue and The Rose Tattoo (Dublin: New Island, 2002) Wills, Clair, That Neutral Island, A Cultural History of Ireland During the Second World War (London: Faber and Faber, 2007) Wilmer, S. E., Theatre, Society and the Nation: Staging American Identitie s (Cambridge: Cambridge University Press, 2002) Worth, Katharine, The Irish Drama of Europe from Yeats to Beckett (London: Athlone Press, 1978) Yeats, Anne, Broadside Characters, Drawings by Jack B. Yeats (Dublin: Cuala Press, 1971) Yeats, Anne, Jack Yeats, Yeats Studies, 2 (1972), 1 5 Yeats, Jack B., Ah Well (London: Routledge & Kegan Paul, 1942) Yeats, Jack B., The Collected Plays of Jack B. Yeats (London: Secker and Warburg, 1971) Yeats, Jack B., Harlequin s Positions, National Gallery of Ireland, Jack B. Yeats Archive, Parcel 60 Yeats, W.B., Uncollected Prose, Volume 2, ed. Richard J. Finneran (New York: Macmillan, 1975) Yeats, W.B., The Major Works (Oxford: Oxford University Press, 1997)

Index 37 Theatre Club, 8, 26, 27, 28, 31, 36, 124, 141 145, 146, 155, 157, 164, 165, 166, 170, 171, 177 Abbey Ballet School, 4, 104 Abbey Experimental Theatre Company, 6, 44, 55, 69, 125, 144 Abbey Theatre, 1, 2, 4, 6, 8, 11, 13 15, 18, 27, 28, 33, 35, 36, 39 41, 44, 45, 55, 57, 76, 77 84, 93, 95, 101 105, 124 127, 137, 139, 141, 156, 161, 165, 167, 169, 170, 171, 174, 177, 178 Albericci, Josephine, 124, 125 Albery, Donald, 175 Anderson, Benedict, 19, 20 Anouilh, Jean, 26, 36, 101, 125, 143 Armstrong, Gordon, 38, 41, 47, 50 Arnold, Bruce, 38, 40, 41, 44 Auden, W. H., 35 Bakhtin, Mikhail, 7 8, 96 97, 111, 114, 116, 121 Balzano, Wanda, 77 Barnet, Sylvan, 56, 58, 59, 61, 64, 172 Barnett, David, 42, 43, 50, 51 Beckett, Samuel, 1, 2, 6, 8, 9, 10, 11, 16, 17, 18, 29, 37, 40 41, 44, 47, 59, 122, 123, 124, 144, 164, 166, 167, 170, 172, 175 176 Beerbohm Tree, Herbert, 38 Begam, Richard, 12 Behan, Brendan, 8, 9, 29, 100, 122, 123, 124, 143, 155, 156, 164, 166, 167, 170 175, 176 Behrndt, Synne, 41 Belfast Arts Theatre, 27 28, 101 Bell, Sam Hanna, 27 Bell, The, 22, 27, 28, 34, 76, 82, 89, 102, 105, 126, 127 Betti, Ugo, 8, 36, 166 Binyon, Laurence, 104 Blok, Alexander, 104 Blythe, Ernest, 6, 13 15, 44, 77 80, 81, 84 87 Borchet, Wolfgang, 143 Bort, Eberhard, 10 Bottomley, Gordon, 104 Boucicault, Dion, 121, 128, 175 Bowen, Elisabeth, 128 Bowen, Evelyn, 82, 89, 90 Brady, Sean, 169 Brecht, Bertolt, 43, 97, 105, 108 109, 110, 114, 143, 170 Bridges Adams, W., 156 Brown, Terence, 23, 24, 30, 32, 34, 35, 79 Browne, E. Martin, 101, 109, 110, 171 Browne, Noel, 28 Buckley, Timothy, 106 Burto, William, 56, 58, 59, 61, 64, 172 Butler, Ann, 77 Byrne, Seamus, 14 Cairns, David, 152, 153 Carlson, Susan, 91 Carney, Frank, 79 Carr, Marina, 178 Carroll, Niall, 166 Carroll, Paul Vincent, 80 Cassin, Barry, 28, 36, 124, 141 146, 149, 157, 165, 177 Chambers, Lillian, 36, 169, 177 Chekhov, Anton, 132, 133, 150 Chesler, Phyllis, 90 Clark, Kenneth, 62 197

198 Index Clarke, Austin, 4, 7, 35, 95, 98, 101 105, 166 Clarke, Brenna Katz, 57 Clarke, Michael, 56 Cocteau, Jean, 143 Collis, Robert, 26, 33 Colum, Padraic, 104 Commentary Magazine, 28, 34 Connor, Elizabeth, 1, 4, 6, 7, 12, 24, 28, 29, 31, 32, 74 76, 79 82, 84, 88, 90, 92 94, 177 An Apple a Day, 6, 7, 24, 28, 31, 74 76, 79, 80, 81 94 Dark Road, 76 Dead Star s Light, 76 Mount Prospect, 28, 76, 81 She Didn t Say No, 77 Swans and Geese, 76 We Are Seven, 76 Cottenham, Mary, 37 Coward, Noel, 157 Craig, Edward Gordon, 38, 39 Craig, May, 127 Cronin, Anthony, 100 Cronin, Gearóid, 128, 129 Cross, Eric, 106 Crowe, Eileen, 81 Cullen Owens, Rosemary, 31 Cusack, Cyril, 81 Cusack, Ralph, 25 D Arcy, Margaretta, 141 143, 145, 171 Dalton, Louis, 14, 80 Davis, Tracy A., 22 de Búrca, Séamus, 173, 174 de Faoite, Séamus, 144 de Valera, Éamon, 24, 31, 32, 52, 53, 79, 92, 94 de Valois, Ninette, 104 Deane, Seamus, 2, 3, 26, 128 Dermody, Frank, 81 Derrida, Jacques, 12 Devenport O Neil, Mary, 4, 35, 104 Diamond, Elin, 16, 19, 75 Diehl, Heath A., 68 Digges, Dudley, 112 Dolan, M. J., 81, 127, 137 Donoghue, Denis, 95 98, 108 Doran, Sean, 28 Dublin Theatre Festival, 29, 106, 145, 168, 170 Dubost, Thierry, 177, 178 Dudgeon, Vera, 126 Durley, Ruth, 149, 157 Edgeworth, Maria, 127 Edwards, Hilton, 26, 33, 36, 101, 166 Eliot, T. S., 35, 96, 98, 99, 100, 104 Ellis-Fermor, Una, 1 Fabbri, Diego, 8, 166 Fabre, Jan, 52 Fallon, Brian, 11, 28, 29 Fallon, Gabriel, 34, 81, 82 Farrell, Michael, 34 Farren, Robert, 35, 102 Ferriter, Diarmuid, 30, 53, 90 Fischer-Lichte, Erika, 11, 16 18, 66 Fitzgerald, Jim, 36 Fitzmaurice, George, 103 FitzPatrick Dean, Joan, 26 Fitz-Simon, Christopher, 14, 25, 26, 33, 157 Ford, Cecil, 44 Friel, Brian, 2, 128, 132, 176, 177, 178 Fry, Christopher, 35, 166 Fuchs, Elinor, 17, 59 63 Gaiety Theatre, 33, 34 Gas Company Theatre, 102, 176 Gate Theatre, 26, 101, 144, 166, 168, 176 Genet, Jean, 36 Giraudoux, Jean, 125 Golden, Edward, 102 Gonne, Maud, 112, 113 Gray, Tony, 100 Greacan, Robert, 25 Gregory, Augusta, 18, 38, 39, 40, 82, 119, 121, 146, 147, 148, 150, 152, 162

Index 199 Grene, Nicholas, 29, 36, 169, 177 Griffith, Arthur, 106, 112, 113, 118 Guthrie, Tyrone, 44 Hall, Kenneth, 25 Harvey, John, 123 Hayward, Phyllis, 25 Hellman, Lillian, 26, 36 Hennessy, Patrick, 25 Higgins, Aidan, 128 Higgins, F. R., 41, 44, 95, 96 Higson, Andrew, 19 Hirschkop, Ken, 97, 114, 115 Hogan, Robert, 32, 97, 98, 112, 124, 127, 132, 146, 150 Holloway, Joseph, 56, 82 Holmquist, Kathyrn, 177 Hubert, Henri, 159 Hunt, Hugh, 13 Ibsen, Henrik, 43, 59, 150, 151 Inge, William, 36 Innes, C. L., 152 Ionesco, Eugène, 8, 166 167 Irving, Henry, 38 Isherwood, Christopher, 35 Issacharoff, Michael, 159 Ivanov, Andrea J., 85 Jelinek, Elfriede, 50 Johnston, Denis, 150, 151 Johnston, Jennifer, 128 Jordan, Eamonn, 119 Joyce, James, 40, 113, 151 Judith, Butler, 85 Jürs-Munby, Karen, 42 Kantor, Tadeusz, 43 Kavanagh, Patrick, 143, 147 Kavanagh, Peter, 1, 13, 28 Kavanagh s Weekly, 28 Keane, John B., 34 Keane, Molly, 128 Kearney, Colbert, 172, 173 Kearney, Richard, 20, 151, 155 Keating, May, 76 Keating, Sean, 76 Kelly, Marie, 177, 178 Kelly, Seamus, 112, 123, 149, 150, 157 Kiberd, Declan, 3 Kiely, Benedict, 25 Kilroy, James, 112 Kilroy, Thomas, 36, 177 178 Kristeva, Julia, 97 Laughton, Charles, 44 Laverty, Maura, 26 le Brocquy, Louis, 25 le Brocquy, Sybil, 25 Lee, J. J., 24, 25 Leeney, Cathy, 136, 137 Lehmann, Hans-Thies, 6, 17, 21, 41 43, 47 52, 59, 61 63 Leonard, Hugh, 123, 145, 176 Leventhal, A. J., 135, 149 Lever, Nora, 8, 28, 36, 82, 124, 141 143, 165, 177 Lloyd, David, 66, 112 114 Lonergan, Patrick, 36, 169, 177, 179 Longford, Christine, 150 Lorca, Federico García, 45, 125 Lyons, F. S. L., 24, 25 Lyric Theatre Company, 4, 7, 27, 35, 36, 95, 101 105 Mac Intyre, Tom, 9, 177 178 Mac Liammóir, Micheál, 26, 33, 101 Mac Reamoinn, Sean, 126, 127, 132 MacDonagh, Donagh, 1, 4, 7, 12, 13, 24, 27, 29, 32, 35, 95 121, 164, 166, 170, 171, 177, 178 Careless Love, 102 God s Gentry, 27, 98, 101, 102 Happy as Larry, 7, 8, 24, 32, 35, 95 97, 99, 101, 104, 105 122, 170, 171 Lady Spider, 102 Let Freedom Ring, 102 Romeo and Jeanette, 101 Step in the Hollow, 101 MacDonagh, Martin, 178

200 Index MacDonagh, Muriel, 99 MacDonagh, Thomas, 7, 99 MacGowran, Jack, 44, 45, 69, 144 MacGreevy, Thomas, 40, 43, 61 Macken, Walter, 14, 80 MacNeice, Louis, 25 Mahony, Tina Hunt, 95 Manahan, Anna, 145, 167 Martin, Gene, 69 Mauss, Marcel, 159 Maxwell, D. E. S., 14, 15, 16, 44, 98, 156 Mayne, Rutherford, 79 McCormick, F. J., 81 McFadden, Roy, 25 McGuinness, Frank, 178 McGuinness, Nora A., 54, 65, 72 McKenna, James, 169 McKenna, Siobhan, 101, 102 McKenna, T. P., 102 McMahon, Bryan, 14, 80 McMullan, Anna, 10, 17, 18, 132 McPherson, Conor, 178 McQuaid, John Charles, 29 Meldon, Maurice, 1, 8, 12, 24, 28, 29, 32, 36, 123 164, 171, 177 Aisling, 8, 24, 123, 124, 142, 144, 145 156, 157, 171 House Under Green Shadows, 8, 24, 124, 125 145, 149, 151, 157 Johnny, 124 No Moon for the Hunter, 124 One Brave Day, 124 Purple Path to the Poppy Fields, 8, 32, 123, 124, 142, 144, 156 163, 164 The Halycon Horseman, 124 The Man of Letters, 124 The Song of the Parakeet, 124 Meldon, Tom J., 125 Mercier, Vivian, 37 Meredith, Burgess, 101 Meyerhold, Vsevolod, 173 Mikhail, E. H., 96 Miller, Arthur, 26, 43, 144 Miller, Liam, 127 Molloy, M. J., 4, 14, 32 Mooney, Ria, 44, 54, 55, 56, 57, 69, 81, 104, 124, 125, 127, 137, 139 Morash, Christopher, 3, 12, 14, 34, 77, 78, 145, 146, 175, 176 Morrison, T. J., 77 Morton Berman, 56, 58, 59, 61, 64, 172 Murphy, Paul, 11, 14, 80 Murphy, Tom, 34, 177, 178 Murray, Christopher, 3, 11, 12, 13, 14, 18, 19, 68, 78, 80, 178, 179 Murray, T. C., 35 National Gallery of Ireland, 38 Ni Loinsigh, Brid, 81 Nicholls, Nick, 25 Nicoll, Allardyce, 47 Nowlan, Kevin B., 30, 35 O Brien, Flann, 26, 143 O Casey, Sean, 3, 4, 5, 29, 78, 94, 147, 148, 149, 150 O Connor, Frank, 33 O Connor, P. J., 106 O Connor, Ulick, 170 O Drisceoil, Donal, 25 O Duffy, Eoin, 52 O Faolain, Sean, 22, 23, 27, 28, 57, 90 O haodha, Micheál, 1 O Malley, Mary, 105 O Neill, Eugene, 26, 45, 148, 150, 151 Olivier, Laurence, 101 Olympia Theatre, 34 Orion Productions, 102 Osborne, John, 98 Paine, Nelson, 167 Parker, Stewart, 135, 139, 150 Partnoff, Mischa, 97 Partnoff, Wesley, 97 Pavis, Patrice, 8, 20, 21, 133 Pechey, Graham, 97, 114 Perrott, Gwendolen, 166

Index 201 Pike Theatre, 8, 9, 29, 36, 124, 143, 145, 164 177 Pilgrim Players, 26, 124 Pilkington, Lionel, 79, 93, 157, 167, 168, 169 Pirandello, Luigi, 26, 36, 43 Players Theatre, 26 Pollexfen, Susan, 37 Poschmann, Gerda, 50 Potter, A. J., 102 Purser, John, 54, 63, 65, 66, 68 Quinn, Gerard, 30 Quintero Brothers, 143 Rakozi, Basil, 25 Redmond, James, 115, 116 Redmond, Liam, 101, 110 Reeve, Alan, 100 Rice, Elmer, 142, 143, 144 Richards, Shaun, 152, 153, 157 Rivers, Elizabeth, 25 Robinson, Lennox, 26, 35, 40, 41, 100, 128, 133, 138 Roche, Anthony, 1, 3, 139, 161, 171, 172, 176, 177, 178 Rodway, Norman, 145, 154 Rose, Marilyn Gaddis, 71 Royal Irish Academy of Music, 27, 104 Russo, Mary, 85 Ryan, John, 28, 143 Ryan, Philip, 111 Ryan, Phyllis, 145 Salkeld, Beatrice, 170 Salkeld, Cecil, 144, 170 Sartre, Jean-Paul, 8, 27, 28, 36, 166, 167 Schrödinger, Erwin, 25 Scott, Charles, 69 Senelick, Lawrence, 19 Shakespeare, William, 60, 90, 112, 120 Shaw, G. B., 54, 76, 150, 151 Sheehy Skeffington, Hanna, 31, 94 Sheridan, Niall, 100 Shiels, George, 79, 80 Sihra, Melissa, 31 Simpson, Alan, 9, 29, 36, 145, 164 169, 174, 175 Skelton, Robin, 40, 45, 49, 50, 66, 67, 72 Smyllie, R. M, 28, 100 Smyth, Gerry, 11, 119, 124, 156 Smyth, Maura, 100 Smyth, Nuala, 100 Solomon, Alisa, 74 Somerville and Ross, 128, 175 Staniewski, Wlodzimierz, 8, 121, 122 Stein, Gertrude, 62 Step Together Festivals, 33 Strindberg, August, 150, 151, 152 Styan, J. L., 152, 154 Sweeney, Bernadette, 177, 178 Swift, Carolyn, 36, 124, 145, 164 169, 174, 175 Synge, J. M., 3, 6, 39, 40, 58, 59, 60, 82, 106, 112, 113, 144, 146, 150, 159, 160 Szondi, Peter, 16 17, 19, 42, 43, 59, 62 Terry, Ellen, 38 Theatre Royal, 111 Toal, Maureen, 102 Traynor, Oscar, 169 Troy, Una S ee under Elizabeth Connor Turner, Cathy, 41 Turner, Victor, 20 Velissariou, Aspasia, 159, 160 Vitez, Antoine, 5, 20 Walsh, Enda, 178 Walsh, Joseph C., 76 Weitz, Eric, 74, 75, 78 Welch, Robert, 15 Wessendorf, Markus, 49 White Stag Group, 25