Titlebook: Cultural Convergence; The Dublin Gate Thea Ondřej Pilný,Ruud van den Beuken,Ian R. Walsh Book‘‘‘‘‘‘‘‘ 2021 The Editor(s) (if applicable) an

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vocated for a drama that could move beyond realism. The analysis of Hilton Edwards’s dramatic commentary reaches from his early articles on dramaturgy right up to his encounter with the Berliner Ensemble in 1956 that influenced Edwards’s most elaborate statement on drama, . (1958). An important part

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óid Ó Lochlainn, was also Irish-speaking. Ó Lochlainn was a versatile actor in Irish and English, wrote a series of plays in Irish and translated into Irish works by Shakespeare, Ibsen and others. This chapter seeks to fill a gap in the story of the Gate by providing a brief biographical sketch of Ó

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s chapter breaks new ground by exploring the Irish roots of Edwards and mac Liammóir, and the rumours that mac Liammóir had Spanish and Jewish ancestry. ‘The Boys’ were not the only figures associated with the early Gate to have transnational backgrounds. Coralie Carmichael, the theatre’s biggest fe

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l survey concerning how the range of connections between these theatres have been treated by theatre commentators up to the present. Alongside this re-examination is a discussion of two other theatres that were also inspired by the London Gate, but established independently by the two London co-dire

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il 1934. The play, which deals with the love between a Prussian schoolgirl and her female teacher, had premiered in Leipzig (1930), run successfully in Berlin (1931), and been adapted for the screen as . (1931) before it was translated into English for a successful London run in 1932-1933. Edwards a

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,Women’s primary characteristics,er, she was also a successful and prolific playwright. This chapter focuses on three history plays written during World War II: . (1941), . (1942) and . (1943). In these works, Longford used the stage to voice strong critique of the increased state control and censorship practices during ‘the Emerge