Irish Drama since the 1990s: Disruptions

Kód výsledku v IS VaVaI

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Výsledek na webu

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DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

Irish Drama since the 1990s: Disruptions

Popis výsledku v původním jazyce

While writers such as Friel and Murphy seemed to provide a certain continuity in the closing years of the twentieth century, and opening years of the twenty-first century, a new generation of writers emerged for whom the Irish dramatic tradition seemed less an inheritance than a foil to be played against (or with) or, in some cases, an irrelevance. For instance, while Martin McDonagh's work was sometimes associated with British 'in-yer-face' theatre of the 1990s, to some commentators his work made more sense as a subversion of an earlier Irish tradition. In the case of Conor McPherson, the breakdown of a community that made a shared theatre culture possible was registered in a turn to monologue, while writers such as Mark O'Rowe and Enda Walsh showed a freedom of dramatic form and a set of dramatic concerns reflecting immersion in a mediatized, globalized late modernity. This chapter analyses the nature of these disruptions in Irish theatrical tradition.

Název v anglickém jazyce

Irish Drama since the 1990s: Disruptions

Popis výsledku anglicky

While writers such as Friel and Murphy seemed to provide a certain continuity in the closing years of the twentieth century, and opening years of the twenty-first century, a new generation of writers emerged for whom the Irish dramatic tradition seemed less an inheritance than a foil to be played against (or with) or, in some cases, an irrelevance. For instance, while Martin McDonagh's work was sometimes associated with British 'in-yer-face' theatre of the 1990s, to some commentators his work made more sense as a subversion of an earlier Irish tradition. In the case of Conor McPherson, the breakdown of a community that made a shared theatre culture possible was registered in a turn to monologue, while writers such as Mark O'Rowe and Enda Walsh showed a freedom of dramatic form and a set of dramatic concerns reflecting immersion in a mediatized, globalized late modernity. This chapter analyses the nature of these disruptions in Irish theatrical tradition.

Druh

C - Kapitola v odborné knize

CEP obor

AL - Umění, architektura, kulturní dědictví

OECD FORD obor

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Projekt

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Návaznosti

I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace

Rok uplatnění

2016

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název knihy nebo sborníku

The Oxford Handbook of Modern Irish Theatre

ISBN

978-0-19-870613-7

Počet stran výsledku

16

Strana od-do

529-544

Počet stran knihy

764

Název nakladatele

Oxford University Press

Místo vydání

Oxford

Kód UT WoS kapitoly

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