Cultural Convergence : The Dublin Gate Theatre, 1928-1960.

By: Piln�y, OndřejContributor(s): van den Beuken, Ruud | Walsh, Ian RMaterial type: TextTextPublisher: Cham : Springer International Publishing AG, 2020Copyright date: {copy}2021Edition: 1st edDescription: 1 online resource (258 pages)Content type: text Media type: computer Carrier type: online resourceISBN: 9783030575625Genre/Form: Electronic books.Additional physical formats: Print version:: Cultural ConvergenceDDC classification: 792.0941835 LOC classification: PN2100-2193Online resources: Click to View
Contents:
Cultural Convergence -- Acknowledgements -- Contents -- Notes on Contributors -- List of Figures -- 1 Introduction: Cultural Convergence at Dublin's Gate Theatre -- Works Cited -- 2 The Internationalist Dramaturgy of Hilton Edwards and Miche�al mac Liamm�oir -- Hilton Edwards: Theatricalizing the Irish Stage -- Miche�al mac Liamm�oir: Internationalizing Irish-Language Drama -- Conclusion -- Works Cited -- 3 Gear�oid �O Lochlainn: The Gate Theatre's Other Irish-Speaking Founder -- Introduction -- Formative Years -- Denmark -- An Comhar Dr�amu�iochta -- �O Lochlainn and the Gate Theatre -- �O Lochlainn's Post-Gate Career -- An Actor in Search of an Audience -- Works Cited -- 4 The Transnational Roots of Key Figures from the Early Years of the Gate Theatre, Dublin -- New Interculturalism and Intercultural Performance -- Hilton Edwards -- Miche�al mac Liamm�oir -- Coralie Carmichael -- Nancy Beckh -- Conclusion -- Works Cited -- 5 The Other Gates: Anglo-American Influences on and from Dublin -- The London Gate -- Familiar Narratives Concerning the Foundation of the Dublin Gate Reviewed -- Links Between the Gates: Projected Programming, Exchange of Plays and the Circulation of Key Theatrical Personnel -- Hitherto Unrecognized Influence -- The London Gate as a 'Parent' Theatre and Its Artistic Impetus for Other Theatres -- Reorganization in Hollywood: The 'Third Gate'14 -- Continuing the Policy of the Gate Theatre at the Watergate Theatre Club -- Conclusion -- Works Cited -- 6 The Brothers Čapek at the Gate: R.U.R. and The Insect Play -- R.U.R. -- Textual History -- R.U.R. by the Gate -- Reception -- Problem with Audiences -- The Insect Play -- Textual History -- The Gate Production -- Reception -- Conclusion -- Works Cited -- 7 Kismet: Hollywood, Orientalism and the Design Language of Padraic Colum's Mogu of the Desert -- Works Cited.
8 Prussian Discipline and Lesbian Vulnerability: Christa Winsloe's Children in Uniform at the Gate -- The Genealogy of Children in Uniform -- Burnham's Adaptation of Gestern und heute -- Children in Uniform's Route to the Gate -- The Script of Children in Uniform at the Gate -- The Sight and Sound of Children in Uniform at the Gate -- The Critical Reception of the Gate Production -- Conclusion -- Works Cited -- 9 'We Belong to the World': Christine Longford's War Plays During Irish Neutrality -- Works Cited -- Index.
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Cultural Convergence -- Acknowledgements -- Contents -- Notes on Contributors -- List of Figures -- 1 Introduction: Cultural Convergence at Dublin's Gate Theatre -- Works Cited -- 2 The Internationalist Dramaturgy of Hilton Edwards and Miche�al mac Liamm�oir -- Hilton Edwards: Theatricalizing the Irish Stage -- Miche�al mac Liamm�oir: Internationalizing Irish-Language Drama -- Conclusion -- Works Cited -- 3 Gear�oid �O Lochlainn: The Gate Theatre's Other Irish-Speaking Founder -- Introduction -- Formative Years -- Denmark -- An Comhar Dr�amu�iochta -- �O Lochlainn and the Gate Theatre -- �O Lochlainn's Post-Gate Career -- An Actor in Search of an Audience -- Works Cited -- 4 The Transnational Roots of Key Figures from the Early Years of the Gate Theatre, Dublin -- New Interculturalism and Intercultural Performance -- Hilton Edwards -- Miche�al mac Liamm�oir -- Coralie Carmichael -- Nancy Beckh -- Conclusion -- Works Cited -- 5 The Other Gates: Anglo-American Influences on and from Dublin -- The London Gate -- Familiar Narratives Concerning the Foundation of the Dublin Gate Reviewed -- Links Between the Gates: Projected Programming, Exchange of Plays and the Circulation of Key Theatrical Personnel -- Hitherto Unrecognized Influence -- The London Gate as a 'Parent' Theatre and Its Artistic Impetus for Other Theatres -- Reorganization in Hollywood: The 'Third Gate'14 -- Continuing the Policy of the Gate Theatre at the Watergate Theatre Club -- Conclusion -- Works Cited -- 6 The Brothers Čapek at the Gate: R.U.R. and The Insect Play -- R.U.R. -- Textual History -- R.U.R. by the Gate -- Reception -- Problem with Audiences -- The Insect Play -- Textual History -- The Gate Production -- Reception -- Conclusion -- Works Cited -- 7 Kismet: Hollywood, Orientalism and the Design Language of Padraic Colum's Mogu of the Desert -- Works Cited.

8 Prussian Discipline and Lesbian Vulnerability: Christa Winsloe's Children in Uniform at the Gate -- The Genealogy of Children in Uniform -- Burnham's Adaptation of Gestern und heute -- Children in Uniform's Route to the Gate -- The Script of Children in Uniform at the Gate -- The Sight and Sound of Children in Uniform at the Gate -- The Critical Reception of the Gate Production -- Conclusion -- Works Cited -- 9 'We Belong to the World': Christine Longford's War Plays During Irish Neutrality -- Works Cited -- Index.

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Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2023. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.

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