Titlebook: Dance Theatre in Ireland; Revolutionary Moves Aoife McGrath Book 2013 Palgrave Macmillan, a division of Macmillan Publishers Limited 2013 d

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https://doi.org/10.1007/978-3-642-59863-0h theatre practice. It is a well-rehearsed lament that theatrical performance in Ireland habitually gave primacy to the written word over the performing body,. leading director Conall Morrison to describe the body in space and time as ‘the great unexplored’.. This focus on the authority of the word

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https://doi.org/10.1007/978-3-642-59863-0ural terrain. In contrast with this, the wave of dance companies founded in Ireland in the early 1990s began to establish a critical mass in the area of contemporary dance, and so when CoisCéim and Fabulous Beast emerged in the mid-90s, they joined a small, yet vibrant, contemporary dance scene. Yet

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https://doi.org/10.1007/978-3-642-59863-0constitutive stories’ that tell of a people’s defining traits and characteristics.. The creation of national myth through these stories aids the cohesion of ‘imagined communities’, to use Benedict Anderson’s term, and as Arash Abizadeh proposes, ‘[t]his mythical element in its shared memories is wha

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Plastiche und wiederherstellende Chirurgie,specific with the ‘painted stage’, the production involved the transplantation of a dodgems (or bumper-car) track, replete with 12 fully functioning dodgem cars, into Dublin’s O’Reilly Theatre in a bid to ‘captur[e] the lights, smells and sounds of the funfair’.. . boasted one of the most highly ant

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Introduction,eing instrumental in a movement of aesthetic change in performance practices, dance theatre works have also played a pivotal role in reflecting and critiquing socio-political and cultural developments in Ireland. In 2003, Brian Singleton proposed that, ‘the most exciting new playwrights in this coun

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Danced Precedents from Yeats to Davis,nning of the Easter Rising, a dress rehearsal performance of a dance play by Yeats, ., was held for a select, invited audience in the London drawing room of Lady Emerald Cunard.. On the surface, the aristocratic setting for this drawing room staging, which made it necessary for the performers to car

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Genre Debates: the Dance and the Bathwater,choreographers within the context of both the current Irish dance landscape and international dance theatre practice. As shown in the previous chapter, although there are several examples of interdisciplinary choreographies to be found in Ireland prior to the work of companies in the 1990s and beyon