The College News, 1932-11-30, Vol. 19, No. 06 (Bryn Mawr, PA: Bryn Mawr College, 1932)

Total Page:16

File Type:pdf, Size:1020Kb

The College News, 1932-11-30, Vol. 19, No. 06 (Bryn Mawr, PA: Bryn Mawr College, 1932) Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Bryn Mawr College Publications, Special Bryn Mawr College News Collections, Digitized Books 1932 The olC lege News, 1932-11-30, Vol. 19, No. 06 Students of Bryn Mawr College Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/bmc_collegenews Custom Citation Students of Bryn Mawr College, The College News, 1932-11-30, Vol. 19, No. 06 (Bryn Mawr, PA: Bryn Mawr College, 1932). This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/bmc_collegenews/455 For more information, please contact [email protected]. , . , . \ l =====================================-.==================== ' . VOL. XIX, No. 6 BRYN MAWR AND WAYNE, PA., WEDNESDAY, NOVEMBER 30,1932 PRICI! 10 The College CENTS • 1932 Varsity Hockey Old c;:Ioth.. Saint's Dar P�nted CALENDAR Dr.Vaughan Williams S arized All atudentl are earne.tty re- Players' Second i Wed., Nov. BOo-Mias Helen Season • A Long Gives Final Lectures umm quested to rem�be!" the Thrift as ' Ghapin will speak on . -- [maget in tile Shop of the BFyn Mawr HOI- ! /low of Bl,ddlLi,t - �earn Showed Marked improve­ Play Designed to be.-Scurrilous o.t Pekixg. Compote" Should Follow Na­ pital when disposing 01 old Palace llIu3e1(n� With• ment in Co-OperatiOll In clothes, furniture, and such ar- • With Sacrifice of His- "lidea. In Goodhart. tional Model. Rather Than ' . Last ·Few Games . ticlca. The Shop, which I, run torical Accura Sat., Dee, S-H Paul Bu.- ' For<ign One. cy Avec , • tor the beneftt of the Hospital, ' nrd will apeak on Vol- V Q. DEFENSE WINS APPLAUSE can seU anything from victr'ltla FANTASTI E OF PLO. wire il DeItZ emt AM. CHURCH USED FOLK-SONG recorda to old ,hoes, and is bad_ CTYP Goodhart, 8.20 P. M . • . Iy in need of contributions: The • I Sat., Dee. 3-Bryn Mawr • Although it won only ono game of (E.pecioUll Ctmtriblttf!d 011 W. W. I "AI! great muaic muat have po"u- ar.ti e.I es most- 1'1eeded I n clu d e Vanity vs. "AII-Phila�elphia ita 1932 echedule, Varsity ahow!! Fln:ner) lar appeal," Or. William. observed in h all t re 1 00 A. M. lO" u m ltu e- Hockey Team. _11. marked improvement ·at the end of :�! �:�_�� ' "The on ev ,lhe eourse of hi. two final Flexner 3Q1o ld g ood ", bu, e y ery Players" Thursday I Sun., Dee. iI-Chapel. Dr. ..'h e Beal beth I 1'1 th0 oll-enee and ning, November seve Iec:turel. In accordane.e with this 0!! contribution will be rratefully n\eenth, produced Hornell Hart, Auociate "Profe ..- be- in the defense. Wo are especially • one-act play, Tom lief, he showed in the fifth Iccturu L aCCi!·pted. If Itudents have any Sa.int'. DOJ/, by lor ot Social Economy and Re- pleased to note that the lack ot e.o- Prideaux. Miu Marshall, beforo the how even the Church, though repeat- cast off possea.siorll they should Icarch, will speak. ' I __ operation which was so evident at the curtain went up, announced that this l.'dly condemning secular music, has call Bryn Mawr 1098 and the I Wed., Dec. 7 WiLljam But- beginning, has practieally disappear.. was to be the first showing of tho drawn from folk song for its ritunl Th,,'/, Shop w,'11 be glad to call ! lor Yeata, distinguished Irish O( course, there are a few mem- und h Dln tunes. In hil concluding ed. and collect. This enterprise is play in its 'presel1't form, and then: dramatist and author, will, Y 21, bers ot the team who far surpass the ......_A n.. gave the ot·cha.raetel'1 and Iltaae Ilddresa, November he declared, wo'thy -t� ,uppo�.� and .....-v .. ceat !!peak' In Goodh •rt at 82 . 0 P . others, but. the team 8B a whol, has 8! l "'ha, A merlcan eompoaeB ah ou Id d' managemen t t0 IIows: M. Tickets on sal& in Publi- I- eration, and we hope that atu- ' • . learned to play as a unit. ...,' th,m.. ly" of' xc. .live ' su servl- dents will keep it in mind. S·amt CIar 0 .............S a II y J one" 1 cations Office. b . ______________ cnce to toreign models, and try to The forwarda, especially, have de- Roaa ................ Carry Schwab '- J _. l Illease __ veloped from a oor offen_se ualn" Sut,o .. Ol ' y ', their own countrym,n before 1+ . Ja�"" l . Y kine recognition abroad. weak, inanimate passes' and rarel;- Tnru ana Error Best Loni . :::.. : : ::.. ' :.. ... \t: ria Coxe William Butler eats ---- hue . I making goalll, into a menace. IoJlkar .. ' ............ Haviland Nelsoll It seems difficult, he pointed out, ay riting . to Speak Here Dec. gO Passes are gotten away much more T each er 0f PI w Bartoni ... ... ...Elizal:leth Hannan '7 lo believe that plain song, aloof quickly and show decided accuracy. ___ Stage Manager ........Maria Coxe _ and vague, could ever have grown The stickwork ot the team, however, Part of Class Time Given to I'roperUcs ............Olivia Jarrett Nobel Prize Winner to TaJk on (rom the aimple, direct music of the ia still amateurish and uninllpirng. Costumes, I)cople. We ordinarily think of rH.- Informal Productions of Ir'IS h Theatre an d L'. tcrary Most of the credit for real improve- Caroline Berg and Betty Edwurds . ual as it is now, at the end of its the Class' Work .. RenaISsance ment goci to the defense. In the fi�t I�ighting ....... ...Diana Tate-Smith development through countless cen- --- l --- luries, and forget that in order to be- lhree games, the opponents t.llied H The action centers about Saint EXPECTATIONS ARE IGH Il FAVORS NEW IRE�ND come first twelve pointll against the baclu and Carlo, an ex-cafe waiter, with tal- esta.blished, it had to create --- goal guard, but in the laat three only cnt for exhortation and spiritual 1 - a widespread popular appeal. The I Bryn Mawr haa been very ortunate to eight points were made. Together What few me.mbers ot the IItudent IIleight of hand, who had been diS- l Church, finding it Impossible oust ceremonial, with the deerease in the opponents' �y were not aware that a playwrit- covered by two businesa men, Elkar in l5CCurinlr Mr. William Butler Yeat:. pagan adapted it to ill own USC; thus the Roman Saturnalia ""coring,there is a gain of four polnta jng class was being offered again this and Bartoni, and by them bally.hooetl as 'a speaker on the Ilfish National in Varllity's scoring last three I wall celebrated all Chriu.mos, the in the b in sanctity. In the :singltl acL it i" Theatre and the Irish Literary Rcn- year, ve certainly been brought face to . I games, indicating that the de.fense Ii a I �pring festival as Eallter. and the h own how C ar I0, InI orm c d b y , to face with the lact irl one way or ais8ance Wednesday December 7th • WIIS lIuch that thc hall was kept in chance friend that "his managers arc " worahip of ancelltors as the commem­ 1 m IIn?t�er by now. The conscnsus of Goodhart,a18.20 P. M. Mr. Yeats, moration of saints, and it is perfectly lhe forward.' pOlisession moat of the . planning to murder him and sell his l -o lime-as was in fact the case. opInIon 18 tha� there was �ever before besides being a poet of world-wide natural that pagan song should al . boncs for sacred relics outwits them a class hke thIS, and that If the mem- c. huve been adapted. The early Chril· Taggart, a varsity right wing from and escapes with Rosa', his mistress, rame, the winner of the Noble P)'iz uers are liane, which is III 1imt!lt a lian, ,II'ke onh Wca I ey, prob- Roaemary, played three games for and that part of the offerings he hallI' ( or Literature in 1932, is perhaps J nbly ' ' little doubtful, something really great I didn t aee why the "devil F irst Varsity and one for the Second. II cted h' h h d R a h be n ore than any oth r one man rcspon- may come out of the amazing chaoll i � � should have all the pretty tunes, In the Germantown match, she played ��I; to :;n�:al �r:':n t:: pr::otc:�� " that begins over the week·end, with ,.. Ible for he f undlng and the flUCC�SS and we actually have direct evidence It niee game in the open, but tended 'rhe play is clearly designed to lie � � rehear!!als for the pantomimea to be the Irish LIterary Theatre, which nf the incorporation of pagan cere· to carry the ball too far down field, scurrilous and amusing, and so feelt lit put on the next Tuesday, and sub· mo ial into FrenCh edeliatic music. 110 that her pasaell came to the inner no responsibility to the church and itll I�ler develol)ed into the Abbey The- n c y te e t n SYI· a curacy, probabil- National Theatre of the Pope Gregory had collected and an hnpolllible an,le. In the ::� �� r � ;: : � �:� :winis, hislori�al � utrc, now the la c h l church music around the wa more game, however, she was Ily or dramatic polish. It Is 80 KUC- Irish Free State. His interest and lematized ��:last brick at the� last� impasaioned� s ier nd her paasea were quicker cess(ul�y entertaining that the audi- year 600, but local tradition dies hard, ';'1 r�� rLUthor.
Recommended publications
  • The Dublin Gate Theatre Archive, 1928 - 1979
    Charles Deering McCormick Library of Special Collections Northwestern University Libraries Dublin Gate Theatre Archive The Dublin Gate Theatre Archive, 1928 - 1979 History: The Dublin Gate Theatre was founded by Hilton Edwards (1903-1982) and Micheál MacLiammóir (1899-1978), two Englishmen who had met touring in Ireland with Anew McMaster's acting company. Edwards was a singer and established Shakespearian actor, and MacLiammóir, actually born Alfred Michael Willmore, had been a noted child actor, then a graphic artist, student of Gaelic, and enthusiast of Celtic culture. Taking their company’s name from Peter Godfrey’s Gate Theatre Studio in London, the young actors' goal was to produce and re-interpret world drama in Dublin, classic and contemporary, providing a new kind of theatre in addition to the established Abbey and its purely Irish plays. Beginning in 1928 in the Peacock Theatre for two seasons, and then in the theatre of the eighteenth century Rotunda Buildings, the two founders, with Edwards as actor, producer and lighting expert, and MacLiammóir as star, costume and scenery designer, along with their supporting board of directors, gave Dublin, and other cities when touring, a long and eclectic list of plays. The Dublin Gate Theatre produced, with their imaginative and innovative style, over 400 different works from Sophocles, Shakespeare, Congreve, Chekhov, Ibsen, O’Neill, Wilde, Shaw, Yeats and many others. They also introduced plays from younger Irish playwrights such as Denis Johnston, Mary Manning, Maura Laverty, Brian Friel, Fr. Desmond Forristal and Micheál MacLiammóir himself. Until his death early in 1978, the year of the Gate’s 50th Anniversary, MacLiammóir wrote, as well as acted and designed for the Gate, plays, revues and three one-man shows, and translated and adapted those of other authors.
    [Show full text]
  • 25 Sept –12 Oct 2014 2-012 2- 01
    25 Sept –12 Oct 2014 2-012 2- 01 Principal Funder buy tickets online www.dublintheatrefestival.com Grant Aided by phone +353 1 677 8899 in person Dublin Theatre Festival Box Office, 44 East Essex Street, Temple Bar, Dublin 2 Tickets are also available at Follow us on Twitter and most Dublin Theatre Festival Facebook for news, ticket venues (see page 73). competitions and special Presenting Partner Official Accommodation Provider Official Media Partner – offers throughout the festival. 21 July @DubTheatreFest Priority booking opens DublinTheatreFestival for Friends of the Festival. Official Broadcasting Partner Official Radio Partner Festival Champion 12 August Booking opens to the general public online, by phone and in person. – Official Vehicle Partner Opening hours Mon – Fri 10am – 6pm Sat 10am – 5pm (Sept 20 – Oct 11 only) Sun 12pm – 3pm (Sept 28 – Oct 12 only) www.dublintheatrefestival.com www.dublintheatrefestival.com welcome02 contents In order of opening 02-03 performance Hello. We have been working hard for give an indication of how vibrant its A flourishing city should offer those 04 Hamlet, Schaubühne Berlin 24 Ganesh Versus the Third Reich, 40 Jack Charles V The Crown, months to bring together the most contemporary theatre scene is. There who live, work and visit it meaningful Bord Gáis Energy Theatre Back to Back Theatre ILBIJERRI Theatre Company exciting, engaging and diverse is another Australian production in cultural experiences and I want our OReilly Theatre, Belvedere Samuel Beckett Theatre productions for this 55th festival our ever popular Family Season, festival to be a key ingredient in what 06 Vardo, ANU Productions Oonagh Young Gallery Adishatz / Adieu, 42 Book Burning, programme.
    [Show full text]
  • Theatre Forum Annual Conference 12Th & 13Th June 2008
    Is it worth it? Theatre Forum Annual Conference 12th & 13th June 2008 Theatre Curator Forum note The annual Theatre Forum conference is a great Theatre Forum is the representative association for opportunity to ask questions in a situation where the performing arts in Ireland. Membership includes there are lots of people gathered to offer answers. all the theatres and arts centres around the country; So why not ask a big question? We’ve all felt it professional theatre, dance and opera production at some time. Disillusionment, doubt, frustration, companies; and the main arts festivals. those low ebbs when the question ‘is it worth it?’ lurks in one’s mind. Theatre Forum acts as a voice for the performing arts community to government, state and semi- ‘Is it worth it?’ can carry many different meanings state agencies and elected representatives. of course, from the philosophical question ‘is art worth it?’, through the political question ‘is theatre The organisation also organises training and worth State support?’, to the practitioner’s personal professional development courses and seminars. questions ‘is it worth the grief, the sacrifice, and Its website www.theatreforumireland.com is an the emotional roller-coaster ride?’, and ‘is it worth invaluable resource containing factsheets and model slogging through the failures and the hum-drum to contracts, an opening night clash diary, an industry achieve the often elusive successes?’ employment page, a barter page, members' notice board and much more. This year’s conference offers a series of different ways to approach these questions, allowing members to engage with their own experience of enthusiasm and disillusionment, passion and despair, the see-saw of positive and negative For further information: feelings involved in working in the performing arts.
    [Show full text]
  • A Word from the Societies Officer
    A Word from the Societies Officer It has been an extraordinary year for societies in NUI Galway, a year which reinforces the view that the societies are at the very heart of the cultural and social life of the campus. With over 7000 students signing on to societies during both societies days this year, their can be no doubt about their continuing popularity. With a turn-over of over €600,000 this year their range and level of activity can not be in question. When you consider that over €150,000 of this was donated to charity the generosity and altruism of the society individuals is a shining example to all of us. It has been a pleasure facilitating and supporting the societies in their unbelievably diverse range of activities. This year our aim was to improve societies’ infrastructures and facilities, to this end workshops for the various committee members were organised. The success of the societies organisational, record keeping and book keeping skills is clearly evident in this publication. In the following pages you will uncover, in the societies own words, the fascinating and diverse range of activities they engaged in and also the immense sense of pride and joy they have in their achievements. The purpose of this book is not only to celebrate the year that the societies have had and to keep a record for future years but also to acknowledge the hard work, imagination, determination and creativity of the dedicated committee members. Congratulations to all of you. This year saw a number of reunions. It was obvious from the alumni that the years spent in societies, while in university, enriched their experiences and forged life long friendships.
    [Show full text]
  • Clive Geraghty
    CLIVE GERAGHTY NolanMuldoonA gency HEIGHT 6’ 0” HAIR Bald/Greying EYES Blue NATIONALITY Irish TRAINING Abbey Theatre FILM & TELEVISION Production Part Director Company EIPIC Terry Louise Ní Fhiannachta Magamedia THE SECRET SCRIPTURE John Sebastian Jim Sheridan Ferndale Films KLONDIKE Father Judge Daithi Keane Abu Media Darach Mac Con CORP AGUS ANAM 2 Matthew King Iomaire Magamedia Steve Shill, Alison Doctor Linacere & Maclean, Dearbhla THE TUDORS King’s Physician Walsh & Jon Amiel Showtime THE CLINIC Mr Byrne Ian Fitzgibbon Parallel Films DAMAGE Judge Aisling Walsh Subotica FAIR CITY James Pigott Various RTÉ PROOF Gerry Rogan Ciaran Donnelly Subotica Alan Macmillen & Paul BALLYKISSANGEL Lucius Cattermole Harrison BBC THE GENERAL Commissioner John Boorman Merlin Films FATHER TED Fisherman Declan Lowney Channel 4 WIDOW’S PEAK Garda Superintendent John Irvin British Screen INTO THE WEST Smiley Mike Newell Channel 4 Films JACK’S BICYLE Shop Owner John Moore Short Film TAFFIN The Butcher Francis Megahy United British Artists ERRORS AND OMISSIONS Doctor Clinton John Lynch RTÉ PAINTED OUT Defender Tom McIntyre RTÉ Manfred Durniok SILVERSON Andre Falk Harnack Filmproduktion THE SINNERS Dick Gordon Various Granada TV Tigon British Film BLACK BEAUTY Roger James Hill Productions NolanMuldoonAgency / +353 1 288 1537 / www.nolanmuldoonagency.com PADDY Tony Degan Daniel Haller 20th Century Fox Associated-Rediffusion SANTUARY Jack Haynes Peter Moffatt Television ABC Weekend NEVER MIND THE QUALITY, FEEL THE WIDTH Father Anthony Various Television THEATRE 625: THE PLOUGH AND THE STARS Jack Clitheroe Lelia Doolan BBC THE REAL CHARLOTTE Roddy Lambert Various RTÉ Jack Cardiff & John YOUNG CASSIDY Policeman Ford MGM THEATRE Play Part Director Venue/Company DA Da Dan Gordon Olympia ARISTOCRATS Father Ben Barnes Abbey Theatre SHE STOOPS TO CONQUER Sir Charles Marlow Patrick Mason Abbey Theatre A WHISTLE IN THE DARK Dada Conall Morrison Abbey Theatre LIVING QUARTERS Comdt.
    [Show full text]
  • Gary Mitchell Writer
    Gary Mitchell Writer Gary Mitchell is an internationally recognized, multi-award winning, writer from Northern Ireland. Agents Georgina Carrigan [email protected] Credits In Development Production Company Notes THE GOODE FAMILY Red Productions / C4 Pilot Commission 2019 DEAD ON ITV Studios Treatment 2019 FIREFIGHT BBC NI / Artis Pictures Pilot Commission 2018 BLUD AND THUNDER Nice One Productions / NI Screen Pilot commission 2017 ADDICTED TO VIOLENCE Leviathan Films Pilot and Series Bible commision 2017 Theatre Production Company Notes BURNT OUT Lyric Theatre, Belfast Lyric Commission 2017 SMILEY Lyric Theatre, Belfast Directed by Conall Morrison 2016 United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Company Notes 1932 The Mac Co-writer with Martin Lynch 2016 Directed by Martin Lynch DEMENTED Lyric Theatre, Belfast Directed By Richard Croxford 2014 RE-ENERGIZE Playhouse Theatre, Londonderry Directed by Conall Morrison 2013 LOVE MATTERS Aisling Ghear Theatre Company, Directed by Aisling Ghéar 2012 Belfast SUICIDE BRUNETTE Old Red Lion Theatre, London Directed by Heather Davies 2010 REMNANTS OF FEAR Dubblejoint Theatre Company, Directed by Pam Brighton 2005 Belfast **Winner: Aisling Award for Outstanding Achievement in Arts and Culture 2005 LOYAL WOMEN Royal Court Donwstairs, London Directed by Josie Rourke 2003 AS THE BEAST SLEEPS Lyric Theatre, Belfast and Directed by John Sheehan 2001 Tricycle Theatre, London MARCHING ON 7:84 Theatre
    [Show full text]
  • Cultural Convergence the Dublin Gate Theatre, 1928–1960
    Cultural Convergence The Dublin Gate Theatre, 1928–1960 Edited by Ondřej Pilný · Ruud van den Beuken · Ian R. Walsh Cultural Convergence “This well-organised volume makes a notable contribution to our understanding of Irish theatre studies and Irish modernist studies more broadly. The essays are written by a diverse range of leading scholars who outline the outstanding cultural importance of the Dublin Gate Theatre, both in terms of its national significance and in terms of its function as a hub of international engagement.” —Professor James Moran, University of Nottingham, UK “The consistently outstanding contributions to this illuminating and cohesive collection demonstrate that, for Gate Theatre founders Hilton Edwards and Micheál mac Liammóir and their collaborators, the limits of the imagination lay well beyond Ireland’s borders. Individually and collectively, the contribu- tors to this volume unravel the intricate connections, both personal and artistic, linking the theatre’s directors, designers, and practitioners to Britain, Europe, and beyond; they examine the development and staging of domestic plays written in either English or Irish; and they trace across national boundaries the complex textual and production history of foreign dramas performed in translation. In addition to examining a broad spectrum of intercultural and transnational influ- ences and perspectives, these frequently groundbreaking essays also reveal the extent to which the early Gate Theatre was a cosmopolitan, progressive, and inclusive space that recognized and valued women’s voices and queer forms of expression.” —Professor José Lanters, University of Wisconsin—Milwaukee, USA “Cultural Convergence is a book for which we have been waiting, not just in Irish theatre history, but in Irish cultural studies more widely.
    [Show full text]
  • DTF Brochure 2018
    Principal Funder buy tickets online dublintheatrefestival.com Grant Aided by phone +353 1 677 8899 in person Dublin Theatre Festival Box Office, Festival House, 12 Essex Street East, Temple Bar, Dublin 2, D02 EH42 Opening hours Follow us for news, ticket Mon–Fri 10am–6pm competitions and special offers throughout the Accommodation Partner Media Partner Radio Partner Sat 10am–5pm festival. (22 Sept–13 Oct only) @DubTheatreFest Sun 12pm–3pm DublinTheatreFestival (30 Sept–14 Oct only) @dublintheatrefestival Broadcasting Partner Social Media Analysis Partner 24 July, 1pm Please note that our Box Priority booking opens Office and phone lines are for Friends of the Festival open at weekends only on 14 August, 10am the dates specified. Online Public booking opens by booking is available all day, phone, in person and online every day. — — Tickets for a selection Become a Friend of the of performances are Festival to avail of priority on public sale now at booking, no booking fees, dublintheatrefestival.com and discounted tickets — (see page 58). Tickets can also be — purchased at most Dublin Email boxoffice@ Theatre Festival venues or dublintheatrefestival.com on the door if available (see if you have any queries page 72). about your booking. welcome to contents Dublin Theatre Festival 2018 Whether this is your first time We are more outward looking as the theatre before. We’re here to 04 Hamlet 24 Company 44 Home Theatre (Ireland) seeing a festival show or you a country and beginning to take help you with questions about the Gate Theatre Company SJ Draíocht have been coming for years, better care of those who have programme, to give you practical Project Arts Centre (Space Upstairs) there’s something for you.
    [Show full text]
  • History of the Irish National Theatre, 1899-1933
    A ElSSOar OF the IRISH KAI'IOSAL THSAIERS, 1899.1953 by OPAL LBS JkMDKBMS A. B., Union Oolle^, Lincoln, Hebraaka, 1932 A TBS3IS sobmltted In partial falflllment of the req.atrenents for the de^vee of KASTSR OF SCIESCS EA3SAS SfATS COLLEGS OF AQSICULTtniS ABS APFLISS SCISSCS 19S4 MOOWlBDOKaC I wlah to express my deep appreciation to Professor Robert V* Conover, who directed and assisted In the preparation of this thesis and to the librarians of the Kansas state Collepe for aid In obtaining books. lABLE OF OOBTESTS IVtROmCflOS 4 KARII HI3MRT OP THS ABBST THSiffRE 6 Irish Literary Theatre Purpose of the ib'taey Theatre Early Authors ^trsvomzat of ths abb^ thsatbs ih irsiaid.. iz Tralnliv^ of .ictora Klnia of Plays Produced THS TOUR OF AMERICA 27 Flays aiven Reception by the Irish Faotlon CrltlctsH THE PERIOD OF Q^LIBS 3S IKPWSSCS OF TH8 IRISH HAT103A1 dSB.^a'HE 45 Sahjeot Matter Style Limitations Recent Tour Fhoenlz Theatre BIBLIOORAPHSr && laTROWJCTIO!! The purpose of this st\i^ Is to trace the histoid and. development of the Irish Jlattonad Theatre, from the data of Its Mrth, 1899, to the year 1933. Here also are discussed the mador characters connected with the theatre as well as their v.'orks, and style of writing* The nucleus of the Irish Hatlonal Theatre was certain, ooopanles of aiaateurB that 7. G. Fajr assembled. The advisers looked to the Irish Batlonal Theatre to bring the drama back to the people, to whon plays dealing with society life asant nothing. They intended that their pla^a ahoald give the people a ^alte nattral pleasure.
    [Show full text]
  • 2014, Annual Report
    ABBEY THE ABBEY at RE AMH A RCL A NN N A Ma INIS T RE A CH 2014 Annual Report 2014 ABBEY THEatRE AMHARCLANN NA MaINISTREACH 2014 Annual Report www.abbeytheatre.ie ABBEY THEatRE AMHARCLANN NA MAINISTREACH 2014 Annual Report Annual Report 2014 CONTENTS Chairman’s Welcome 6 Director's Report 10 Financial Overview 20 Our Impact 22 Artistic Programme 24 Awards 36 Literary Programme 38 Community & Education Programme 40 Talks 42 Artistic Development Programme 44 Abbey Theatre Archive 46 Celebrating 110 Years of the Abbey Theatre 47 Moments 48 Staff 62 Board of Directors 64 Supporters & Members 68 Gallery & Reviews 70 Financial Statements Extract 93 Annual Report 2014 As Ireland’s national theatre, our mission is to create a world class national theatre that actively engages with and reflects Irish society. The Abbey Theatre invests in, nurtures and promotes Irish theatre artists. We do this by placing the writer and theatre-maker at the heart of all that we do, commissioning and producing exciting new work and creating discourse and debate on the political, cultural and social issues of the day. Our aim is to present great theatre art in a national context so that the stories told on stage have a resonance with audiences and artists alike. The Abbey Theatre produces an ambitious annual programme of Irish and international theatre across our two stages and on tour in Ireland and internationally, having recently toured to Edinburgh, London, New York and Sydney. The Abbey Theatre is committed to building the Irish theatre repertoire, through commissioning and producing new Irish writing, and re-imagining national and international classics in collaboration with leading contemporary talent.
    [Show full text]
  • 2012, Annual Report
    ABBEY THEATRE AMHARCLANN NA MAINISTREACH 2012 Annual Report ABBEY THEATRE AMHARCLANN NA MAINISTREACH 2012 Annual Report Annual Report 2012 CONTENTS Director's Report 8 Financial Overview 14 Our Impact 16 Artistic Programme 18 Awards 28 Literary Programme 30 Abbey Theatre Archive 34 Community & Education Programme 36 Talks 40 Artistic Development Programme 44 Abbey Theatre Staff 46 Supporters & Members 48 Gallery & Reviews 50 Financial Statements Extract 65 5 Annual Report 2012 As Ireland’s national theatre, our mission is to create a world class national theatre that actively engages with and reflects Irish society. The Abbey Theatre invests in, nurtures and promotes Irish theatre artists. We do this by placing the writer and theatre-maker at the heart of all that we do, commissioning and producing exciting new work and creating discourse and debate on the political, cultural and social issues of the day. Our aim is to present great theatre art in a national context so that the stories told on stage have a resonance with audiences and artists alike. The Abbey Theatre produces an ambitious annual programme of Irish and international theatre across our two stages and on tour in Ireland and internationally, having recently toured to Edinburgh, London, New York and Sydney. The Abbey Theatre is committed to building the Irish theatre repertoire, through commissioning and producing new Irish writing, and re-imagining national and international classics in collaboration with leading contemporary talent. Over the years, the Abbey Theatre has premiered the work of major Irish playwrights such as J.M. Synge and Sean O’Casey as well as contemporary classics from Sebastian Barry, Marina Carr, Bernard Farrell, Brian Friel, Frank McGuinness, Thomas Kilroy, Tom MacIntyre, Tom Murphy, Mark O’Rowe and Billy Roche.
    [Show full text]
  • Flashes of Modernity: Stage Design at the Abbey Theatre, 1902- 1966
    Provided by the author(s) and NUI Galway in accordance with publisher policies. Please cite the published version when available. Title Flashes of modernity: stage design at the Abbey Theatre, 1902- 1966 Author(s) McCormack, Christopher Publication Date 2018-08-31 Publisher NUI Galway Item record http://hdl.handle.net/10379/14988 Downloaded 2021-09-28T08:53:59Z Some rights reserved. For more information, please see the item record link above. FLASHES OF MODERNITY: STAGE DESIGN AT THE ABBEY THEATRE, 1902-1966 A Doctoral Thesis Submitted to the O’Donoghue Centre for Drama, Theatre and Performance at National University of Ireland Galway By Christopher McCormack Supervised by Dr. Ian R. Walsh August 2018 2 ABSTRACT Responding to Guy Julier’s call for a “knowing practice” of design studies, this doctoral thesis reveals Ireland’s negotiation with modernity through stage design. I use historian T.J. Clark’s definition of modernity as “contingency,” which “turn[s] from the worship of ancestors and past authorities to the pursuit of a projected future”. Over the course of 60 years that saw the transformation of a pre-industrialised colony to a modernised republic, stage designs offered various possibilities of imagining Irish life. In the same period, the Abbey Theatre’s company shuttled itself from small community halls to the early 19th-century Mechanics’ Theatre, before moving to the commercial Queen’s Theatre, and finally arriving at the modern building that currently houses it. This thesis shines new light on that journey. By investigating the design references outside theatre, we can see how Abbey Theatre productions underlined new ways of envisioning life in Ireland.
    [Show full text]