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

Notorious

Orientalist narratives require the display of the body through the eroticization of costume – legitimizing the costumed body as a to-be-looked-at space. The Gate’s fascination with oriental settings enables the visibility of ‘transgressive’ sexualities as well as understanding the tastes and appeal of popular culture.

condescend

STYX

,Introduction: Cultural Convergence at Dublin’s Gate Theatre,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.

Endoscope

,The Internationalist Dramaturgy of Hilton Edwards and Micheál mac Liammóir,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.

可触知

火车车轮

HAIRY

LINES

Adulate

,‘We Belong to the World’: Christine Longford’s War Plays During Irish Neutrality, . (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.

Adenoma

Book‘‘‘‘‘‘‘‘ 2021ular culture, and the development of Irish-language theatre, respectively. The overarching objective is to consider the output of the Gate in terms of cultural convergence – the dynamics of exchange, interaction, and acculturation that reveal the workings of transnational infrastructures..