<Insert Image Cover>

Total Page:16

File Type:pdf, Size:1020Kb

<Insert Image Cover> An Chomhaırle Ealaíon An Tríochadú Turascáil Bhliantúil, maille le Cuntais don bhliain dar chríoch 31ú Nollaig 1981. Tíolacadh don Rialtas agus leagadh faoi bhráid gach Tí den Oireachtas de bhun Altanna 6 (3) agus 7 (1) den Acht Ealaíon 1951. Thirtieth Annual Report and Accounts for the year ended 31st December 1981. Presented to the Government and laid before each House of the Oireachtas pursuant to Sections 6 (3) and 7 (1) of the Arts Act, 1951. Cover: Photograph by Thomas Grace from the Arts Council touring exhibition of Irish photography "Out of the Shadows". Members James White, Chairman Brendan Adams (until October) Kathleen Barrington Brian Boydell Máire de Paor Andrew Devane Bridget Doolan Dr. J. B. Kearney Hugh Maguire (until December) Louis Marcus (until December) Seán Ó Tuama (until January) Donald Potter Nóra Relihan Michael Scott Richard Stokes Dr. T. J. Walsh James Warwick Staff Director Colm Ó Briain Drama and Dance Officer Arthur Lappin Opera and Music Officer Marion Creely Traditional Music Officer Paddy Glackin Education and Community Arts Officer Adrian Munnelly Literature and Combined Arts Officer Laurence Cassidy Visual Arts Officer/Grants Medb Ruane Visual Arts Officer/Exhibitions Patrick Murphy Finance and Regional Development Officer David McConnell Administration, Research and Film Officer David Kavanagh Administrative Assistant Nuala O'Byrne Secretarial Assistants Veronica Barker Patricia Callaly Antoinette Dawson Sheilah Harris Kevin Healy Bernadette O'Leary Receptionist Kathryn Cahille 70 Merrion Square, Dublin 2. Tel: (01) 764685. An Chomhaırle Ealaíon An Chomhairle Ealaíon/The Arts Council is an independent organization set up under the Arts Acts 1951 and 1973 to promote the arts. It operates through a wide-ranging programme of financial assistance and special services, offered to both individuals and organizations. The Council also acts as an adviser on artistic matters to the Government and Government Departments and is one of four bodies which have a statutory duty to make representations to planning authorities in connection with applications for planning permission in areas of special amenity throughout the country. The Council consists of a board of not more than seventeen members appointed by the Taoiseach. The present board was appointed in December 1978 and its term of office will expire in 1983. The board meets about ten times a year to set Council policies and make decisions within the terms of the Arts Acts. These policies and decisions are implemented by a staff headed by a Director, appointed by the Council. The Council reports to the Oireachtas through the Taoiseach and its accounts are audited by the Auditor General. Annual grants from the Oireachtas are the Council's main source of income. These grants are supplemented by income from local authorities and private organizations and the Council also administers a number of trust funds, set up privately for specific purposes. The arts are defined in the Arts Acts and include: The Visual Arts (painting, sculpture, architecture, print-making, design); The Performing Arts (theatre, dance, music, opera); Literature; Film; Crafts. Contents Page Chairman's Introduction 5 Report 7 Visual Arts 11 Literature 19 Drama 23 Music 27 Traditional Music 31 Opera 33 Dance 35 Film 37 Arts Centres and Festivals 38 Education 39 Community Arts 43 Regional Arts 44 Capital 45 Accounts 47 Chairman's Introduction The main direction of the Council, in its early years, was to encourage artistic activity and to make awareness of the arts a greater part of the national consciousness. It could be said that these ends have been achieved. Our primary need now is for funding to support the musician, the visual artist, the writer and the actor. It has also become necessary to find a way to bridge financially the years between the discovery of this talent and its full professional development. This the Council has endeavoured to do by the introduction of bursaries, scholarships, travel grants and grants to groups who provide opportunities for the emerging artist. At the same time the pressure in maintaining the established institutions has never been so great. With the increase of costs at every level and the comparative decline in the nation's financial resources, our continuing increases in the grants to these institutions are insufficient to ensure that standards will not be effected and the art forms in question not threatened with decline. We have continued to pursue our joint ventures with our colleagues in the Arts Council of Northern Ireland and we commenced, during the year, an examination of the implications for the arts of wide- spread unemployment. We have agreed that the Arts Councils, north and south, should prepare for an era in which a very large number of people will be permanently without work and that it will be necessary to provide alternative opportunities in the region of the arts. It is with deep regret that we record the death during the year of Brendan Adams, one of our members, whose work for the Ulster Folk Museum was of considerable significance. He made a major contribution in the area of literature, language and philology. We also regret that pressure of work in other areas led three members to resign from the Council. Hugh Maguire, Louis Marcus and Sean Ó Tuama are distinguished in the fields of music, film and literature respectively. Whilst their own disciplines will benefit from the greater amount of time they will have available, their loss to the Arts Council is incalculable. We would like to place on record our gratitude to them for their excellent work with us over the years. The report which follows indicates the wide area covered by the Council's activities and it is hoped that this work will be seen as a preparation for an expanded future for the arts in Ireland. James White, Chairman. Ingrid Craigie, Deirdre Donnelly and Fedelma Cullen in a scene from "Scenes from an Album" by William Trevor which premiered at the Abbey in August 1981. Report Aosdána, the affiliation of artists engaged in literature, music and the visual arts, was established by the Council in 1981. Aosdána will consist of not more than 150 artists selected on the basis that they have established a reputation for achievement and distinction in their disciplines. The scheme is intended to honour those artists whose work has made an outstanding contribution to the arts in Ireland and will encourage and assist its members to devote their energies fully to their art by offering those who need it, a basic level of financial security. The Council believes that this initiative complemented by the existing awards, bursaries and scholarship schemes and Ciste Cholmcille has the potential to make a major contribution to the arts in Ireland in the coming decades. The desirability of a scheme such as this has been evident to the Council for a number of years. The prospect of a system of honours to artists was first discussed by the Council in 1978. These discussions took place in the context of the Council's increased conviction that its first priority is to improve the status, self-confidence and professionalism of the individual creative artist. The strength of this conviction is clear from the steady increase in the number and value of bursaries, scholarships and awards which the Council was able to make available to artists. In 1979 the Council proposed to the Government certain changes in the terms of Ciste Cholmcille (a fund established by Additional Functions Order 1966 whose objective is provide assistance to artists who find themselves in difficulties) to improve the effectiveness of the fund. These changes were approved in 1980. In 1979 the Council also commissioned a major research project from Irish Marketing Surveys Ltd. on the Living and Working Conditions of Artists. The survey revealed the precise extent of financial restraints on Irish artists. As a result the Council decided (in the words of the Chairman's Introduction for the Report of 1980) "to initiate a comprehensive proposal which will offer opportunities for the development of the creative artist in Ireland". In bringing the Aosdána proposal to fruition the Council was extremely fortunate to have the advice of the writer Anthony Cronin who acts as Advisor on Cultural and Artistic matters to the Taoiseach and also to have the support of the then Taoiseach, Charles J. Haughey T.D. The Council is extremely grateful for this support. In December the Council announced the names of the first 89 members of Aosdána. These members are now entitled to apply to the Council for Cnuas grants. To qualify for these grants members will be expected to concentrate full-time on their art. Cnuais are valued at £4,000 per annum revised annually and are payable for five years. The list of names of the first members of Aosdana are included in this Report on page 9. Another initiative which will be of benefit to individual artists in Ireland is the Tyrone Guthrie Centre at Annaghmakerrig. In October, in the presence of the Taoiseach Garret Fitzgerald T.D., the Centre formally opened its doors to artists. The former home of the late Sir Tyrone Guthrie was bequeathed by him to the nation in order that there might be opportunities for creative artists — writers, composers, painters and sculptors — to stay there and give concentrated attention to their work. The Centre is administered by a company established in partnership with the Arts Council of Northern Ireland. About eighty artists spent periods in residence in the house before the end of the year. A proposal which would undoubtedly have a major effect on the arts had it come to fruition by years end, was that of the Coalition Government to introduce a Department of Culture and the Arts.
Recommended publications
  • University of Florida Thesis Or Dissertation Formatting
    IRISH MUSIC AND HOME-RULE POLITICS, 1800-1922 By AARON C. KEEBAUGH A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2011 1 © 2011 Aaron C. Keebaugh 2 ―I received a letter from the American Quarter Horse Association saying that I was the only member on their list who actually doesn‘t own a horse.‖—Jim Logg to Ernest the Sincere from Love Never Dies in Punxsutawney To James E. Schoenfelder 3 ACKNOWLEDGMENTS A project such as this one could easily go on forever. That said, I wish to thank many people for their assistance and support during the four years it took to complete this dissertation. First, I thank the members of my committee—Dr. Larry Crook, Dr. Paul Richards, Dr. Joyce Davis, and Dr. Jessica Harland-Jacobs—for their comments and pointers on the written draft of this work. I especially thank my committee chair, Dr. David Z. Kushner, for his guidance and friendship during my graduate studies at the University of Florida the past decade. I have learned much from the fine example he embodies as a scholar and teacher for his students in the musicology program. I also thank the University of Florida Center for European Studies and Office of Research, both of which provided funding for my travel to London to conduct research at the British Library. I owe gratitude to the staff at the Library of Congress in Washington, D.C. for their assistance in locating some of the materials in the Victor Herbert Collection.
    [Show full text]
  • 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]
  • Get PDF ~ Something Beginning with P: New Poems from Irish Poets
    UW8YGV4IJMBX » eBook » Something Beginning with P: New Poems from Irish Poets Read PDF SOMETHING BEGINNING WITH P: NEW POEMS FROM IRISH POETS O Brien Press Ltd, Ireland, 2008. Paperback. Book Condition: New. Corrina Askin, Alan Clarke (illustrator). 3rd Revised edition. 231 x 193 mm. Language: English . Brand New Book. A beautiful collection of specially-commissioned new poems for children of all ages. Includes poems from leading Irish poets: Seamus Heaney, Thomas Kinsella, Maighread Medbh * Paula Meehan * Brendan Kennelly * Michael Longley * Rita Ann Higgins * Matthew Sweeney * Biddy Jenkinson * Desmond O Grady * Richard Murphy * Nuala... Read PDF Something Beginning with P: New Poems from Irish Poets Authored by Seamus Cashman Released at 2008 Filesize: 1.6 MB Reviews This ebook is definitely not effortless to get going on looking at but quite entertaining to read. It really is rally exciting throgh reading period. Its been developed in an exceptionally easy way and is particularly simply following i finished reading through this ebook through which basically changed me, alter the way i believe. -- Piper Gleason DDS Without doubt, this is actually the best function by any article writer. It is probably the most amazing ebook i have got go through. Your lifestyle period will likely be enhance once you complete reading this article publication. -- Brody Parisian TERMS | DMCA IYI57TVCBOTI » Kindle » Something Beginning with P: New Poems from Irish Poets Related Books Any Child Can Write Who am I in the Lives of Children? An Introduction to Early Childhood Education The Well-Trained Mind: A Guide to Classical Education at Home (Hardback) The First Epistle of H.
    [Show full text]
  • Austin Clarke Papers
    Leabharlann Náisiúnta na hÉireann National Library of Ireland Collection List No. 83 Austin Clarke Papers (MSS 38,651-38,708) (Accession no. 5615) Correspondence, drafts of poetry, plays and prose, broadcast scripts, notebooks, press cuttings and miscellanea related to Austin Clarke and Joseph Campbell Compiled by Dr Mary Shine Thompson 2003 TABLE OF CONTENTS Introduction 7 Abbreviations 7 The Papers 7 Austin Clarke 8 I Correspendence 11 I.i Letters to Clarke 12 I.i.1 Names beginning with “A” 12 I.i.1.A General 12 I.i.1.B Abbey Theatre 13 I.i.1.C AE (George Russell) 13 I.i.1.D Andrew Melrose, Publishers 13 I.i.1.E American Irish Foundation 13 I.i.1.F Arena (Periodical) 13 I.i.1.G Ariel (Periodical) 13 I.i.1.H Arts Council of Ireland 14 I.i.2 Names beginning with “B” 14 I.i.2.A General 14 I.i.2.B John Betjeman 15 I.i.2.C Gordon Bottomley 16 I.i.2.D British Broadcasting Corporation 17 I.i.2.E British Council 17 I.i.2.F Hubert and Peggy Butler 17 I.i.3 Names beginning with “C” 17 I.i.3.A General 17 I.i.3.B Cahill and Company 20 I.i.3.C Joseph Campbell 20 I.i.3.D David H. Charles, solicitor 20 I.i.3.E Richard Church 20 I.i.3.F Padraic Colum 21 I.i.3.G Maurice Craig 21 I.i.3.H Curtis Brown, publisher 21 I.i.4 Names beginning with “D” 21 I.i.4.A General 21 I.i.4.B Leslie Daiken 23 I.i.4.C Aodh De Blacam 24 I.i.4.D Decca Record Company 24 I.i.4.E Alan Denson 24 I.i.4.F Dolmen Press 24 I.i.5 Names beginning with “E” 25 I.i.6 Names beginning with “F” 26 I.i.6.A General 26 I.i.6.B Padraic Fallon 28 2 I.i.6.C Robert Farren 28 I.i.6.D Frank Hollings Rare Books 29 I.i.7 Names beginning with “G” 29 I.i.7.A General 29 I.i.7.B George Allen and Unwin 31 I.i.7.C Monk Gibbon 32 I.i.8 Names beginning with “H” 32 I.i.8.A General 32 I.i.8.B Seamus Heaney 35 I.i.8.C John Hewitt 35 I.i.8.D F.R.
    [Show full text]
  • Irish Studies Round the World – 2019
    Estudios Irlandeses, Issue 15, March 2020-Feb. 2021, pp. 242-276 __________________________________________________________________________________________ AEDEI IRISH STUDIES ROUND THE WORLD – 2019 Christina Hunt Mahony (ed.) Copyright (c) 2020 by the authors. This text may be archived and redistributed both in electronic form and in hard copy, provided that the author and journal are properly cited and no fee is charged for access. Introduction Christina Hunt Mahony ……….………………………………………………………..….. 243 A History of Irish Modernism. Gregory Castle and Patrick Bixby, eds. Feargal Whelan ……..……………..………………….………………………………….…245 Constellations: Reflections from Life. Sinéad Gleeson Melania Terrazas …...………………………………….………………………….………...248 Dublin Palms. Hugo Hamilton Denis Sampson…………..………………………….…..…………………………………...250 Making Integral: Critical Essays on Richard Murphy. Benjamin Keatinge, ed. Elsa Meihuizen……..………………………………..…………………………………........252 The Collected Letters of W. B. Yeats, Volume V: 1908-10. John Kelly and Ronald Schuchard, eds. Nicholas Grene………………………………….…………………………………………...255 Over the Backyard Wall: A Memory Book. Thomas Kilroy George O’Brien ………...…………………………..……………………………………….258 A New History of the Irish in Australia. Elizabeth Malcolm and Dianne Hall Pauric Travers ……………………..……………..…………………………………………264 Notes to Self. Emilie Pine Éilís ni Dhuibne………….………………………..………………………………………...266 ISSN 1699-311X 243 Oscar Wilde and Contemporary Irish Drama: Learning to be Oscar’s Contemporary. Graham Price Pierpaolo Martino………...………………………..………………………………………..269
    [Show full text]
  • "The Given Note": Traditional Music and Modern Irish Poetry
    Provided by the author(s) and NUI Galway in accordance with publisher policies. Please cite the published version when available. Title "The Given Note": traditional music and modern Irish poetry Author(s) Crosson, Seán Publication Date 2008 Publication Crosson, Seán. (2008). "The Given Note": Traditional Music Information and Modern Irish Poetry, by Seán Crosson. Newcastle: Cambridge Scholars Publishing. Publisher Cambridge Scholars Publishing Link to publisher's http://www.cambridgescholars.com/the-given-note-25 version Item record http://hdl.handle.net/10379/6060 Downloaded 2021-09-26T13:34:31Z Some rights reserved. For more information, please see the item record link above. "The Given Note" "The Given Note": Traditional Music and Modern Irish Poetry By Seán Crosson Cambridge Scholars Publishing "The Given Note": Traditional Music and Modern Irish Poetry, by Seán Crosson This book first published 2008 by Cambridge Scholars Publishing 15 Angerton Gardens, Newcastle, NE5 2JA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2008 by Seán Crosson All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-84718-569-X, ISBN (13): 9781847185693 Do m’Athair agus mo Mháthair TABLE OF CONTENTS Acknowledgements .................................................................................
    [Show full text]
  • Downloaded from Downloaded on 2020-06-06T01:34:25Z Ollscoil Na Héireann, Corcaigh
    UCC Library and UCC researchers have made this item openly available. Please let us know how this has helped you. Thanks! Title A cultural history of The Great Book of Ireland – Leabhar Mór na hÉireann Author(s) Lawlor, James Publication date 2020-02-01 Original citation Lawlor, J. 2020. A cultural history of The Great Book of Ireland – Leabhar Mór na hÉireann. PhD Thesis, University College Cork. Type of publication Doctoral thesis Rights © 2020, James Lawlor. https://creativecommons.org/licenses/by-nc-nd/4.0/ Item downloaded http://hdl.handle.net/10468/10128 from Downloaded on 2020-06-06T01:34:25Z Ollscoil na hÉireann, Corcaigh National University of Ireland, Cork A Cultural History of The Great Book of Ireland – Leabhar Mór na hÉireann Thesis presented by James Lawlor, BA, MA Thesis submitted for the Degree of Doctor of Philosophy University College Cork The School of English Head of School: Prof. Lee Jenkins Supervisors: Prof. Claire Connolly and Prof. Alex Davis. 2020 2 Table of Contents Abstract ............................................................................................................................... 4 Declaration .......................................................................................................................... 5 Acknowledgements ............................................................................................................ 6 List of abbreviations used ................................................................................................... 7 A Note on The Great
    [Show full text]
  • Colour in the Plays of Sean O'casey
    “To Throw a Whole World in Colour on a Canvas Though it be but a Man’s Fine Face”: Colour in the Plays of Sean O’Casey To Throw a Whole World in Colour on a Canvas Though it be but a Man’s Fine Face: Colour in the Plays of Sean O’Casey Ryan K Evans This thesis is submitted for the degree of Master of Philosophy August 2019 English and Creative Writing “To Throw a Whole World in Colour on a Canvas Though it be but a Man’s Fine Face”: Colour in the Plays of Sean O’Casey Declaration This thesis has not been submitted in support of an application for another degree at this or any other university. It is the result of my own work and includes nothing that is the outcome of work done in collaboration except where specifically indicated. Many of the ideas in this thesis were the product of discussion with my supervisors Tony Pinkney and Tony Sharpe. Ryan Evans Lancaster University, UK Ryan K Evans July 2019 ii “To Throw a Whole World in Colour on a Canvas Though it be but a Man’s Fine Face”: Colour in the Plays of Sean O’Casey Abstract This thesis examines the presence and use of colour in the plays of Sean O’Casey and argues that while a portion of colour in the drama is aesthetic, another portion is intentionally utilized as a means to provide additional contextual commentary, be it cultural, religious, political, or artistic in nature. This practice stems, I argue, in part because of O’Casey’s tendency towards an appreciation for beautiful things stemming from his artistic leanings.
    [Show full text]
  • Original Song Settings of Irish Texts by Irish Composers, 1900-1930
    Technological University Dublin ARROW@TU Dublin Masters Applied Arts 2018 Examining the Irish Art Song: Original Song Settings of Irish Texts by Irish Composers, 1900-1930. David Scott Technological University Dublin, [email protected] Follow this and additional works at: https://arrow.tudublin.ie/appamas Part of the Composition Commons Recommended Citation Scott, D. (2018) Examining the Irish Art Song: Original Song Settings of Irish Texts by Irish Composers, 1900-1930.. Masters thesis, DIT, 2018. This Theses, Masters is brought to you for free and open access by the Applied Arts at ARROW@TU Dublin. It has been accepted for inclusion in Masters 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 Examining the Irish Art Song: Original Song Settings of Irish Texts by Irish Composers, 1900–1930 David Scott, B.Mus. Thesis submitted for the award of M.Phil. to the Dublin Institute of Technology College of Arts and Tourism Supervisor: Dr Mark Fitzgerald Dublin Institute of Technology Conservatory of Music and Drama February 2018 i ABSTRACT Throughout the second half of the nineteenth century, arrangements of Irish airs were popularly performed in Victorian drawing rooms and concert venues in both London and Dublin, the most notable publications being Thomas Moore’s collections of Irish Melodies with harmonisations by John Stephenson. Performances of Irish ballads remained popular with English audiences but the publication of Stanford’s song collection An Irish Idyll in Six Miniatures in 1901 by Boosey and Hawkes in London marks a shift to a different type of Irish song.
    [Show full text]
  • A Thesis Presented'to Thef~Culty of the Department of English Indiana
    The Renaissance movement in the Irish theatre, 1899-1949 Item Type Thesis Authors Diehl, Margaret Flaherty Download date 06/10/2021 20:08:21 Link to Item http://hdl.handle.net/10484/4764 THE :RENAISSANCE HOVEMENT IN THE IRISH THEATRE 1899... 1949 A Thesis Presented'to TheF~culty of the Department of English Indiana. state Teachers College >" , .. .I 'j' , ;I'" " J' r, " <>.. ~ ,.I :;I~ ~ .~" ",," , '. ' J ' ~ " ") •.;.> / ~ oj.. ., ". j ,. ".,. " l •" J, , ., " .,." , ') I In Partial Fulfillment of the ReqUi:tements for th.eDegree Mast~rofArts in Education by Margaret Flaherty' Diehl June- 1949 i . I .' , is hereby approved as counting toward the completion of the Maste:r's degree in the amount of _L hOUI's' credit. , ~-IU~~~....{.t.}.~~~f...4:~:ti::~~~'~(.{I"''-_' Chairman. Re:prese~ative of Eng /{Sh Depa~ent: b~~~ , ~... PI ACKf.iIUvJLJIDG.fI1:EThTTS The author of this thesis wishes to express her sincere thanks to the members of her committee: (Mrs.) Haze~ T. Pfennig, Ph.D., chairman; (Mrs.) Sara K. Harve,y, Ph.D.; George E. Smock, Ph.D., for their advice and assistance. She appreciates the opportunities fOr research "itlhich have been extended to her, through bo'th Indiana State Teachers College Librar,y and Fairbanks Memoria~ Librar,y. The writer also desires to thank Lennox Robinson and Sean a'Casey fOr their friendly letters" She is espeCially indebted for valuable information afforded her through correspondence with Denis Johnston. Margaret Flaherty Diehl TABLE OF CONTENTS CHAPTER PAGE I.. BEGINNING OF THE DRAMA IN IRELAND ••••• .. ". 1 Need for this study of the Irish Renaissance .. 1 The English theatre in Ireland • • e' • • " ." 1 Foupding of the Gaiety 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]
  • Music Supplement
    1964 L books [ Tailoring Under the supervision of most We. books our London-trained cutter silver I I:S. C. TRI N ITY N EWS | GOWNS, HOODS, ,aheny. books CASSOCKS, BLAZERS livered I )Oste~ A Dublin University Undergraduate Weekly 3 CHURCH LANE 01. HOD6ES FIG61S COLLEGE GREEN bretta,. IIRYSON ... where else ? THURSDAY, 3rd DECEMBER, 1963 PRICE THREEPENCE match. LTD. :heese COMMONS AT CROSSROADS? S.R.C. Committee Reports The S.R.C. Sub-Committee which was recently set up to investigate Commons has completed its report. It expanded its terms of reference to include all aspects of evening catering, and its inquiry proceeded along the three lines of examining relevant documents, interviewing various bodies of College opinion, and assessing undergraduate feelings; Under the first head it was made voluntary and argued that seen that the Board had appointed three aims should be sought. a committee under Professor These are, in order of priority, Moody which suggested the pro- the saving of the historic vision of an evening meal for non- Commons as a common, orderly resident students. This was and graced meal for staff and accepted by the Board which students, the provision of a asked the Agent and Treasurer to wholesome meal at the lowest examine its practical application. possible price, and the saving of From their investigations the the " Cista Communis" from all following facts emerged: unnecessary expense. Commons is expensive because From the results of the of the use of waiters, the pro- questionnaire held by the S.R.C. ns vision of stout and the variations to assess undergraduate opinion ,, in attendance.
    [Show full text]