Two Year Full Time Professional Actor Training Programme
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Issue 18 Midlands Arts 4:Layout 1
VISUAL ARTS MUSIC & DANCE ISSUE & FILM THEATRE FREE THE WRITTEN WORD A REVIEW OF THE ARTS IN LAOIS, LONGFORD, OFFALY AND WESTMEATH WINTER 2012 18 COVER PIC Laois teens explore life Kilbeggan through a lens gallery set page 8 in stone page 17 Offaly composer Longford girl celebrated for pursues international ballet dream success page 31 page 4 Toy Soldiers, wins at Galway Film Fleadh Midland Arts and Culture Magazine | WINTER 2010 Over two decades of Arts and Culture Celebrated with Presidential Visit ....................................................................Page 3 A Word Laois native to trend the boards of the Gaiety Theatre Midlands Offaly composer celebrated for international success .....Page 4 from the American publisher snaps up Longford writer’s novel andCulture Leaves Literary Festival 2012 celebrates the literary arts in Laois on November 9, 10............................Page 5 Editor Arts Magazine Backstage project sees new Artist in Residence There has been so Irish Iranian collaboration results in documentary much going on around production .....................................................................Page 6 the counties of Laois, Something for every child Mullingar Arts Centre! Westmeath, Offaly Fear Sean Chruacháin................................................Page 7 and Longford that County Longford writers honored again we have had to Laois teens explore life through the lens...............Page 8 up the pages from 32 to 36 just to fit Introducing Pete Kennedy everything in. Making ‘Friends’ The Doctor -
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. -
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 -
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. -
Archives of the Proscenium Press
Special Collections Department Archives of the Proscenium Press 1904 - 1993 (bulk dates 1962 - 1993) Manuscript Collection Number: 313 Accessioned: Purchase, 1975-1993. Extent: 13 linear ft. Content: Letters, photographs, contracts, bank statements, drawings, certificates of copyright, catalogs, calendars, broadsides, posters, programs, galley proofs, page layouts, bills (financial), typescripts, journal, drafts (preliminary versions), clippings, photomechanical reproductions, microfilm, poems, books, playbills, and playscripts. Access: The collection is open for research. Processed: February 1995 by Anita A. Wellner. for reference assistance email Special Collections or contact: Special Collections, University of Delaware Library Newark, Delaware 19717-5267 (302) 831-2229 Table of Contents Historical Note Biographical Note Scope and Contents Note Arrangement Note Series List Contents List History of the Proscenium Press According to a brief notice in the August 5, 1967 issue of Saturday Review, Robert Hogan founded the Proscenium Press in 1965. His intention was to fill an educational and cultural need unrecognized by commercial publishers. Hogan believed that large numbers of excellent playscripts, written by distinguished authors, were unavailable to the public, small theaters, and classrooms, because they were not commercially attractive to large publishing firms. Hogan, whose areas of scholarly expertise include modern drama and Irish literature, also wished to make the work of Irish literary figures available to both students and audiences in the United States. Although Proscenium Press began publishing in 1965, the Press was not incorporated until 1977, when incorporation became a necessary development in seeking tax exempt status as a nonprofit organization. Proscenium Press was incorporated in the State of Delaware, where Hogan had joined the faculty of the University of Delaware in 1970. -
Papers of Micheál Mac Liammóir
Leabharlann Náisiúnta na hÉireann National Library of Ireland Collection List No. 117 PAPERS OF MICHEÁL MAC LIAMMÓIR (MSS 41,246-41,340) Papers of the actor, stage designer, theatre director and author, Micheál Mac Liammóir, of the Gate Theatre, Dublin, which he founded with his partner, Hilton Edwards, in 1928. The collection comprises playscripts, essays, records of business, and personal and professional correspondence. Compiled by Máire Ní Chonalláin, 2005 Contents Introduction 5 Micheál Mac Liammóir 5 Provenance 5 Content and Structure 5 I Literary and autobiographical works by Mac Liammóir 7 I.i Scripts 7 I.i.1 Dancing Shadow 7 I.i.2 Diarmuid and Gráinne 7 I.i.3 Full Moon for the Bride 7 I.i.4 Gertie the Ghost of the Gate 7 I.i.5 Home for Christmas (or the Grand Tour) : a Masquerade 8 I.i.6 I Must be Talking to my Friends 8 I.i.7 Ill Met by Moonlight 8 I.i.8 The Importance of Being Oscar 9 I.i.9 Juliet in the Rain 10 I.i.10 The Mountains Look Different 11 I.i.11 Pageant of St. Patrick 11 I.i.12 Portrait of Miriam 12 I.i.13 Prelude in Kazbek Street 12 I.i.14 A Slipper for the Moon 12 I.i.15 The Speckledy Shawl 13 I.i.16 Talking about Yeats 13 I.i.17 Where Stars Walk 14 I.ii Autobiographical material 15 I.ii.1 All for Hecuba 15 I.ii.2 Actors in Two Lights / Aisteoiri faoi Dhá Sholas 15 I.iii Works in Irish 15 I.iv Miscellaneous writings 15 II Diaries and miscellaneous personal papers 16 III Works by others 17 III.i Adaptations of novels and other genres 17 III.ii Plays by others 18 IV Correspondence 19 IV.i Abbey Theatre and the National Theatre Society 19 IV.ii Ballets by Mac Liammóir 20 IV.iii Ballintubber Abbey 750 years celebrations 20 IV.iv Birthday cards: 70th birthday celebrations 21 2 IV.v “Bookings (and things concerning them)” 21 IV.v.1 Agents 21 IV.v.2 Theatre bookings 21 IV.v.3 Booking of actors 22 IV.vi British Council 22 IV.vii Broadcasting 22 IV.vii.1 A.B.C. -
List of Bodies Approved for Education in the Arts in Accordance with Part 2
List of Bodies Approved for Education in the Arts in accordance with Part 2 of Schedule 26A, TCA 1997 (Section 848A, TCA 1997 "Donations to Approved Bodies" refers) Name Of Approved Body Effective From Abbey Centre Of Ballyshannon 13/10/1992 Abbey Theatre Amharclann Na Mainistreach 09/03/2006 Abbey Theatre (National Theatre) 30/08/1985 Abbeyfeale Folk Ltd 17/01/2000 Actors' Centre Company Ltd (Centre For The Performing Arts) 15/05/1987 Adventures In Music 14/01/2009 African Cultural Project Limited 30/10/1999 Alchemiser Limited 08/02/1993 Alternative Entertainments Community Arts Group 31/01/1989 An Chomhairle Leabharlanna* 21/06/1999 Apic Centre 16/03/1998 Aras Naisiunta 12/07/1996 Archbishop March's Library 06/03/1991 Architectural Association Of Ireland 07/07/1986 Arthouse Ltd 07/06/1995 Artists Association Of Ireland (Previously Association Of Artists In Ireland) 07/07/1986 Artists Association Of Ireland (Previously Association Of Artists In Ireland) 07/07/1986 Association Of Friends Of The Hunt Museum 11/07/1994 Association Of Irish Choirs 30/08/1985 Association Of Irish Composers 30/08/1985 Association Of Irish Musical Societies Ltd 21/09/1990 Backwater Artist Limited 01/07/1997 Baker Arts Centre Ltd (Garter Lane Arts Centre) 30/12/1987 Ballina Arts Events Ltd. 07/11/1998 Ballinglen Arts Foundation 19/05/1994 Bantry 1796 French Armada Trust 22/11/1991 Barabbas... The Company Limited 23/02/1998 Beesneez Theatre Company 17/01/2000 Belltable Arts Centre Company Ltd 30/12/1987 Birr Stage Guild Ltd 22/10/1998 Black Church Print Studio Limited 15/08/1989 Blackcastle Theatre Co. -
Afterword: the Act and the Word
Afterword: The Act and the Word Olwen Fouéré Actors are still categorized as mere interepreters within the artistic hier- arachies of Irish theatre. Of course, many of us have bowed to that definition and sadly trundle along, madly interpreting. I wonder why that is. As an actor/actress – or dare I say it – as an artist, as one who seeks, I am conscious that theatre demands everything of the actor’s human form. It demands everything of the body who acts and receives all the knowledge we will ever need. The body is the delta, alpha and omega of theatre and the actor’s power resides there, free from the perceived tyranny of the word. This is the task. It is as simple as putting words on a page and it is not easy, as any writer will tell you. A lot of things can get in the way. For instance, the idea that as I am woman I am therefore called an actress. An Actress might be an icon, languorous and eternally poised somewhere dangerously close to Sunset Boulevard. She lives alone and remains forever exotic and unattainable. There are times when I like that idea and court it for my own wicked amusement. The idea that as an actress I am brilliant at displaying emotion and can move an audience to tears, not to mention the nice writer in the back row. Even the idea that this is perhaps an actress’s job, to be so ‘moving’ in the role that everyone says she really must play Nora in A Doll’s House or later even Medea so that she can demonstrate her remarkable histrionic range – but mind, not too much rage, there madness lies, keep charming the audience if you can and don’t be too ‘strong’ or it will go against you.