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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978-3-030-57564-9The Editor(s) (if applicable) and The Author(s) 2021

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Book‘‘‘‘‘‘‘‘ 2021hree decades of its existence, discussing some of its remarkable productions in the comparative contexts of avant-garde theatre, Hollywood cinema, popular culture, and the development of Irish-language theatre, respectively. The overarching objective is to consider the output of the Gate in terms of

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,Women’s primary characteristics, . (1943). In these works, Longford used the stage to voice strong critique of the increased state control and censorship practices during ‘the Emergency’ in Ireland. Through the female characters, Longford comments, in particular, on the static roles Irish women had while women around the world found new opportunity.

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n summarizes existing research about the Gate, outlines the book’s concept of cultural convergence and its overall approach – which is intent on the exploration of wider global contexts of the work of the Gate – and outlines the argument of the authors in the subsequent chapters.

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re important for the self-styled Irishman Micheál mac Liammóir. On close inspection, however, we find that his outlook did not differ much from Edwards’s. Mac Liammóir’s main concern was for Irish(-language) drama to absorb elements from abroad, to escape the straitjacket of Abbey realism and to become distinctive in a global context.

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Drámuíochta, which was hosted by the Gate Theatre in 1930-1934), a summary of his involvement with the Gate, a critique of his original plays and his translations which, in introducing Dublin’s Irish-language theatregoers to world drama, complemented the mission of the Gate, and an assessment of Ó Lochlainn’s achievement.

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lso connected Los Angeles emigré culture back to Ireland. In London, Pilcher worked with a group of women associates to found a ‘new Gate’, the Watergate Theatre Club in 1949, which, with its avant-garde artistic ethos, had a cultural impact on the post-war London scene similar to the achievements of the earlier Gate theatres.