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A S H E T News
1 ASHET News October 2009 Volume 2, number 4 ASHET News October 2009 Newsletter of the Australian Society for History of Engineering and Technology together from strips of fabric. It has vents at the top, controlled by cables ASHET members only tour to from the basket, to let out some of the hot air for the balloon and allow Kavanagh Balloons the balloon to descend. The basket below the balloon is made from wicker, the traditional At Mount Kuringai on the edge material, on a metal frame. Phil has on his staff a basket-weaver who of Sydney is the factory of builds these. The largest ones he makes will hold twelve passengers as Kavanagh Balloons that a party well as the cylinders of LPG fuel. The fuel burners, also made in the of ASHET members visited on factory, are mounted above the basket in the mouth of the balloon itself. 17 September. We saw here how Most balloons are decorated in unique designs made in coloured nylon Phil Kavanagh and a handful of fabric stitched to the panels of fabric that make up the balloon before they employees make their big hot air are assembled. The patterns for the decorative pieces are generated on a balloons. Just how big they are computer. Almost every aspect of the design and manufacture of these can be seen from the photo of balloons is carried out in this little factory. one that dwarfs the two storey Phil Kavanagh himself conducted our tour.. We were fascinated to factory building and the people see how modern techniques and materials are being used to build on an around it. -
All We Say Is 'Life Is Crazy': – Central and Eastern Europe and the Irish
Provided by the author(s) and NUI Galway in accordance with publisher policies. Please cite the published version when available. Title All we say is 'Life is crazy': - Central and Eastern Europe and the Irish Stage Author(s) Lonergan, Patrick Publication Date 2009 Lonergan, P. (2009) ' All we say is 'Life is Crazy': - Central and Publication Eastern Europe and the Irish Stage' In: Maria Kurdi, Literary Information and Cultural Relations Between Ireland and Hungary and Central and Eastern Europe' (Eds.) Dublin: Carysfort Press. Publisher Dublin: Carysfort Press Link to publisher's http://www.carysfortpress.com/ version Item record http://hdl.handle.net/10379/5361 Downloaded 2021-09-28T21:11:04Z Some rights reserved. For more information, please see the item record link above. All We Say is ‘Life is Crazy’: – Central and Eastern Europe and the Irish Stage Patrick Lonergan If you had visited the Abbey Theatre during 2007, you might have seen a card displayed prominently in its foyer. ‘Join Us,’ it says, its purpose being to convince visitors to become Members of the Abbey – to donate money to the theatre and, in return, to get free tickets for productions, to have their names listed in show programmes, and to gain access to special events. The choice of image to attract potential donors is easy to understand (Figure 1). The woman, we see, has reached into a chandelier to retrieve a letter, and we can tell from her expression that the discovery she’s made has both surprised and delighted her. Why is she so happy? What does the letter say? And who is that strange man, barely visible, holding her up at such an unusual angle? As well as being eye-catching, the image is also an interesting analogue for the experience of watching great drama. -
Challenging the People, the State and the Patriarchy in 1980S Irish Theatre
Provided by the author(s) and NUI Galway in accordance with publisher policies. Please cite the published version when available. Title Provoking performance: challenging the people, the state and the patriarchy in 1980s Irish Theatre Author(s) O'Beirne, Patricia Publication Date 2018-08-28 Publisher NUI Galway Item record http://hdl.handle.net/10379/14942 Downloaded 2021-09-27T14:54:59Z Some rights reserved. For more information, please see the item record link above. Provoking Performance: Challenging the People, the State and the Patriarchy in 1980s Irish Theatre Candidate: Patricia O’Beirne Supervisor: Dr. Ian Walsh School: School of Humanities Discipline: Drama and Theatre Studies Institution: National University of Ireland, Galway Submission Date: August 2018 Summary of Contents: Provoking Performance: Challenging the People, the State and the Patriarchy in 1980s Irish Theatre This thesis offers new perspectives and knowledge to the discipline of Irish theatre studies and historiography and addresses an overlooked period of Irish theatre. It aims to investigate playwriting and theatre-making in the Republic of Ireland during the 1980s. Theatre’s response to failures of the Irish state, to the civil war in Northern Ireland, and to feminist and working-class concerns are explored in this thesis; it is as much an exploration of the 1980s as it is of plays and playwrights during the decade. As identified by a literature review, scholarly and critical attention during the 1980s was drawn towards Northern Ireland where playwrights were engaging directly with the conflict in Northern Ireland. This means that proportionally the work of many playwrights in the Republic remains unexamined and unpublished. -
Orme) Wilberforce (Albert) Raymond Blackburn (Alexander Bell
Copyrights sought (Albert) Basil (Orme) Wilberforce (Albert) Raymond Blackburn (Alexander Bell) Filson Young (Alexander) Forbes Hendry (Alexander) Frederick Whyte (Alfred Hubert) Roy Fedden (Alfred) Alistair Cooke (Alfred) Guy Garrod (Alfred) James Hawkey (Archibald) Berkeley Milne (Archibald) David Stirling (Archibald) Havergal Downes-Shaw (Arthur) Berriedale Keith (Arthur) Beverley Baxter (Arthur) Cecil Tyrrell Beck (Arthur) Clive Morrison-Bell (Arthur) Hugh (Elsdale) Molson (Arthur) Mervyn Stockwood (Arthur) Paul Boissier, Harrow Heraldry Committee & Harrow School (Arthur) Trevor Dawson (Arwyn) Lynn Ungoed-Thomas (Basil Arthur) John Peto (Basil) Kingsley Martin (Basil) Kingsley Martin (Basil) Kingsley Martin & New Statesman (Borlasse Elward) Wyndham Childs (Cecil Frederick) Nevil Macready (Cecil George) Graham Hayman (Charles Edward) Howard Vincent (Charles Henry) Collins Baker (Charles) Alexander Harris (Charles) Cyril Clarke (Charles) Edgar Wood (Charles) Edward Troup (Charles) Frederick (Howard) Gough (Charles) Michael Duff (Charles) Philip Fothergill (Charles) Philip Fothergill, Liberal National Organisation, N-E Warwickshire Liberal Association & Rt Hon Charles Albert McCurdy (Charles) Vernon (Oldfield) Bartlett (Charles) Vernon (Oldfield) Bartlett & World Review of Reviews (Claude) Nigel (Byam) Davies (Claude) Nigel (Byam) Davies (Colin) Mark Patrick (Crwfurd) Wilfrid Griffin Eady (Cyril) Berkeley Ormerod (Cyril) Desmond Keeling (Cyril) George Toogood (Cyril) Kenneth Bird (David) Euan Wallace (Davies) Evan Bedford (Denis Duncan) -
Index of Castlebar Parish Magazine 1971
Index of Castlebar Parish Magazine 1971 1. Parish Roundup & review of the past twelve months. Tom Courell 2. St. Gerald’s College – Short History Brother Vincent 3. Tribute to Walter Cowley, Vocational Teacher Sean O’Regan 4. Memories from School – Articles & Poems A) An old man remembers French Hill 1798. B) Poem “Old School Round the Corner” by pupils of 6th class, Errew School. C) Poem “ The Mall in Winter” by Ann Kelly, aged 12. D) Poem “ Nightfall in Sionhill” by Bridie Flannery, aged 12. E) Poem “Tanseys Bus Stop” by Gabrielle O’Farrell, aged 11. F) Poem “The Mall in November” by Kathryn Kilroy, aged 12. G) Poem “ The Station” by Eimear O’Meara, aged 11. H) Poem “St. Anthony’s School” by Mairin Feighan, aged 11. I) The Gossip in Town by Grainne Fadden, aged 12. J) Kinturk Castle by Ann Garvey, Carmel Mugan & Gabrielle Thomas. K) Description of Ballyheane by Geraldine Kelly, aged 12. L) Sean na Sagart by pupils of 5th class, Ballyheane N.S. M) Derryharrif by Bernadette Walsh. N) Ballinaglough by Ann Moran, aged 11. O) Murder at Breaffy by John Walsh & Liam Mulcahy. P) History of Charles Street, Castlebar by Raymond Fallon, aged 12. Photographs; 1) New St.Gerald’s College, Newport Road, Castlebar ( Front Cover ) 2) St.Gerald’s College, Chapel Street, Castlebar 3) Teaching Staff of St.Gerald’s College, Castlebar, 1971. Parish Sport : Gaelic Games, Rugby & Camogie. Castlebar Associations Review : London, Birmingham & Manchester Births, Deaths & Marriages for 1971 are also included. Index of Castlebar Parish Magazine 1972 1. Parish Review of the past twelve months. -
Farhad Uddin Ahmed Professor Louis Brennan Trinity Business School
The Emergence of Born Global Firms: A Least-developed Country Perspective A Dissertation Presented by Farhad Uddin Ahmed Supervised by Professor Louis Brennan to Trinity Business School The University of Dublin (Trinity College Dublin), Ireland in Fulfilment of the Requirements for the Degree of Doctor of Philosophy in Business Studies Trinity Business School The University of Dublin, Trinity College July 2016 STATEMENT OF ORGINALITY I hereby declare that this scholarship is entirely my own work and that it has not been submitted as an exercise for the award of a degree at this or any other University. Signature/name Date Farhad Uddin Ahmed Trinity Business School The University of Dublin (Trinity College Dublin), Ireland ii COPYRIGHT STATEMENT Please note the following terms and conditions: I agree to deposit this dissertation in the University’s open access institutional repository or allow the library to do so on my behalf, subject to Irish Copyright Legislation and Trinity College Library conditions of use and acknowledgement, This dissertation is also protected by copyright and other intellectual property rights retained by the author of this work, The text, findings or any other materials of this dissertation cannot be reproduced, cited and quoted for commercial and non-commercial purpose without prior formal permission obtained from the author. © 2016 – Farhad Uddin Ahmed All rights reserved. iii DEDICATION This amazing and intellectual PhD journey would not have been possible without the unconditional and boundless blessing, love and encouragement of my parents. Therefore, I would like to dedicate this scholarship to my mother, Chashme Akter and in the memory of my late father, Jamal Uddin Ahmed. -
Annual Conference Attendance List Key: F = Full Member, I = Individual Member; a = Affiliate Member; NM = Non Member
Annual Conference Attendance list Key: F = Full member, I = Individual member; A = Affiliate member; NM = Non Member # Name Surname Title Organisation Mem 1 Aideen Howard Literary Director Abbey Theatre F 2 Declan Cantwell Director of Finance & Administration Abbey Theatre F 3 Fiach Mac Conghail Director Abbey Theatre F 4 Catherine Carey Director of Public Affairs Abbey Theatre F 5 Barry McKinney General Manager An Tain F 6 Laura Condon Administrator Andrew's Lane Theatre F 7 Mary McVey Andrew's Lane Theatre F 8 Graham Main Festival Manager Anna Livia Dublin Opera Festival F 9 Margaux Nissen Gray Liaison Manager Anna Livia Dublin Opera Festival F 10 Pádraig Naughton Director Arts & Disability Ireland F 11 John McArdle Artistic Director Artswell F 12 Colm Croffy Operations Director Association of Irish Festival Events F 13 Mark O'Brien Local Arts Development Officer axis arts centre Ballymun F 14 Lali Morris Programme Director Baboró Arts Festival for Children F 15 Mona Considine General Manager Backstage Theatre F 16 Anne Maher Managing Director Ballet Ireland F 17 Jenny Walsh Bassett Artistic Director Banner Theatre Company NM 18 Tríona NíDhuibhir General Manager Barabbas F 19 Vincent Dempsey General Manager Barnstorm Theatre Company F 20 Philip Hardy Artistic Director Barnstorm Theatre Company F 21 Frances O'Connor Company Administrator Barnstorm Theatre Company F 22 Peter McNamara Chief Executive Belltable Arts Centre F 23 Karl Wallace Artistic Director Belltable Arts Centre F 24 Alistair Armit Sales Engineer Blackbaud Europe NM 25 -
Ministry to Migrants and Asylum Seekers
Ministry to Migrants and Asylum Seekers A Guide for Evangelical Churches By Nick Park Ministry to Migrants and Asylum Seekers: A Guide for Evangelical Churches Copyright © 2015 Nick Park ISBN 978-0-9570750-4-7 All rights reserved No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means - electronic, mechanical, photocopy, recording, or any other - except for brief quotations in printed reviews, without prior permission of the publisher. Printed in Ireland by SPRINT-print Ltd Cover design by Kirsty Park Published by Success Services Ireland for Evangelical Alliance Ireland Ulysses House, 22/24 Foley Street Dublin 1, Ireland www.evangelical.ie Scripture taken from The Holy Bible, New International Version® (Anglicised), NIV® . Copyright © 1979, 1984, 2011 Biblica, Inc. Used by permission of Hodder & Stoughton Liimited, a division of Hachette UK. All rights reserved worldwide. “New International Version” and “NIV” are registered trademarks of Biblica, Inc. Used by permission. ABOUT THE AUTHOR Nick Park was raised in Belfast, Northern Ireland, and was won to Christ through the ministry of the Salvation Army. After graduation and ordination from the William Booth Memorial Training College in London, he and his wife, Janice, served as Salvation Army Officers in Leicester, and then in pastoral ministry with the Assemblies of God in Lancashire. In 1994 they started the Solid Rock Church – known as ‘Ireland’s Multicultural Church.’ They also founded the ministry of the Church of God in Ireland. Nick still serves as Senior Pastor of the Solid Rock Church, while Janice serves as Worship and Prayer Pastor. -
Copyrighted Material
Index A Arklow Golf Club, 212–213 Bar Bacca/La Lea (Belfast), 592 Abbey Tavern (Dublin), 186 Armagh, County, 604–607 Barkers (Wexford), 253 Abbey Theatre (Dublin), 188 Armagh Astronomy Centre and Barleycove Beach, 330 Accommodations, 660–665. See Planetarium, 605 Barnesmore Gap, 559 also Accommodations Index Armagh City, 605 Battle of Aughrim Interpretative best, 16–20 Armagh County Museum, 605 Centre (near Ballinasloe), Achill Island (An Caol), 498 Armagh Public Library, 605–606 488 GENERAL INDEX Active vacations, best, 15–16 Arnotts (Dublin), 172 Battle of the Boyne Adare, 412 Arnotts Project (Dublin), 175 Commemoration (Belfast Adare Heritage Centre, 412 Arthur's Quay Centre and other cities), 54 Adventure trips, 57 (Limerick), 409 Beaches. See also specifi c Aer Arann Islands, 472 Arthur Young's Walk, 364 beaches Ahenny High Crosses, 394 Arts and Crafts Market County Wexford, 254 Aille Cross Equestrian Centre (Limerick), 409 Dingle Peninsula, 379 (Loughrea), 464 Athassel Priory, 394, 396 Donegal Bay, 542, 552 Aillwee Cave (Ballyvaughan), Athlone Castle, 487 Dublin area, 167–168 433–434 Athlone Golf Club, 490 Glencolumbkille, 546 AirCoach (Dublin), 101 The Atlantic Highlands, 548–557 Inishowen Peninsula, 560 Airlink Express Coach Atlantic Sea Kayaking Sligo Bay, 519 (Dublin), 101 (Skibbereen), 332 West Cork, 330 Air travel, 292, 655, 660 Attic @ Liquid (Galway Beaghmore Stone Circles, Alias Tom (Dublin), 175 City), 467 640–641 All-Ireland Hurling & Gaelic Aughnanure Castle Beara Peninsula, 330, 332 Football Finals (Dublin), 55 (Oughterard), -
Interchapter Ii: 1940–1969
INTERCHAPTER II: 1940–1969 Melissa Sihra Lady Augusta Gregory died in 1932 and from that period the Abbey Theatre consisted of an all-male directorate – Yeats, Kevin O’Higgins, Ernest Blythe, Brinsley MacNamara, Lennox Robinson and Walter Starkie. Blythe, an Irish-language revivalist and politician, would now remain on the inside of the Abbey for many years to come. Issues of artistic policy remained primarily within Yeats’s domain, but with his death in 1939 the position of power was open and Blythe took over as Managing Director in 1941, remaining in that post until 1967. Earnán de Blaghd, as he preferred to be known, espoused a conser- vative ethos and the board as a whole was highly restrictive artist- ically. While the work of a significant number of women dramat- ists was produced during these decades (see Appendix pp. 223–4), this period in the Abbey’s history is associated predominantly ‘with kitchen farce, unspeakably bad Gaelic pantomimes, compulsory Irish and insensitive bureaucracy’.1 The move from the 1930s into the 1940s saw the consolidation of Éamon De Valera’s Fianna Fáil administra- tion. Bunreacht na hÉireann (The Irish Constitution) was established in 1937, the same year that Samuel Beckett moved to Paris. During this time women activists sought political representation and equal rights as citizens of the Irish Free State, particularly with regard to the 1932 marriage bar. In 1938 Hannah Sheehy-Skeffington, a prolific feminist campaigner and member of the Women’s Graduates’ Associ- ation, argued that the constitution was based on ‘a fascist model, in which women would be relegated to permanent inferiority, their avoca- tions and choice of callings limited because of an implied invalidism as the weaker sex’.2 A fully independent Republic of Ireland came into being in 1949, in a decade that was framed by De Valera’s patriotic speech: ‘The Ireland that we dreamed of’. -
Loving the Art in Yourself
Technological University Dublin ARROW@TU Dublin Books/Book Chapters Conservatory of Music and Drama 2014 Loving the Art in Yourself Mary Moynihan Technological University Dublin, [email protected] Follow this and additional works at: https://arrow.tudublin.ie/aaconmusbk Part of the Acting Commons, Music Commons, and the Other Theatre and Performance Studies Commons Recommended Citation Moynihan, M. (2014) Loving the Art in Yourself. In S. Burch & B. McAvera (eds.) Stanislavski in Ireland- Focus at 50,(pp.4-25) Dublin, Carysfort Press. This Book Chapter is brought to you for free and open access by the Conservatory of Music and Drama at ARROW@TU Dublin. It has been accepted for inclusion in Books/Book Chapters by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License 2 I Loving the art in yourself Mary Moynihan After spending five years in New York, training and performing with theatre practitioners such as 'Erwin Piscator, Saul Colin, Lee Strasberg and Allan Miller", American-born Deirdre O'Connell (1939-2001) came to Ireland and founded the Stanislavski Acting Studio of Dublin in May 1963. The Stanislavski studio was so named as the type of training that Deirdre wanted to bring to Ireland. It was based on the theatrical theoh and techniques of the Russian Theatre practitioner, actor and director Konstantin Stanislavski (1863-1938), founder and theatre administrator ofthe Moscow Art Theatre and creator ofthe Stanislavski system of actor training, 'the most influential system of acting in the Western World'.2 The Stanislavski approach is a system of training, not a specific style of acting, that aims to provide the skills necessary for the actor to develop the inner life; the emotional and sensory life of the character. -
The Playwright and the Abbey Theatre. Phd Thesis. Ht
Francombe, Benedict John (1993) "The home of the living writer" : the playwright and the Abbey Theatre. PhD thesis. http://theses.gla.ac.uk/1852/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] "THE HOME OF THE LIVING WRITER11,: . THE PLAYWRIGHT AND THE ABBEY THEATRE II Benedict John Francombe Thesis submitted for the degree of Doctor of Philosophy,', Department of Theatre, Film and Television Studies, Faculty of Arts, University of Glasgow. May 1993. Abstract This thesis attempts to outline the practical relationship between Irish playwrights and the Abbey Theatre, from the early work of the Irish Literary Theatre in 1899, until the present day. It argues that the Abbey's reputation for being a writer's theatre tends to be contradicted by its distant association with Irish playwrights during the greater part of its history. Only during the early 1980swas there an active attempt to integrate the playwright within the company, creating a vibrant and active community for the development of new writing. Up until the 1980s the Abbey subscribedto the establishedtwentieth- century view that the playwright was a literary writer, outside the creative centre of theatre.