Titlebook: Irish Drama, Modernity and the Passion Play; Alexandra Poulain Book 2016 The Editor(s) (if applicable) and The Author(s) 2016 Irish theatr

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Saint Joan’s Unheard Voices: G. B. Shaw and the Passion Playds an inclusive, non-sectarian, non-patriarchal construction of the emerging nation. Focusing on the staging of Joan’s burning, which is kept offstage but witnessed and reported by several characters in the play, I then show that the play reflects metatheatrically on the power of the spectacle of th

critic

Re-Directing the Passion Play: Seán O’Casey’s , and ,at offers no redemption. However, using Elaine Scarry’s analysis of the structure of war in ., which both strives to produce injured bodies and to confine them to invisibility, I argue that the dramaturgy of the Passion play is used positively to reverse this attempt at denial and expose the reality

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Intimate Passions: Thomas Kilroy’s , and ,s own version of the Passion on a daily basis. Using a grotesque, often farcical dramaturgy, the play displays the joint attempts of ecclesiastical and temporal powers to appropriate Matt Talbot’s performance of his faith, as well as the ways in which he resists instrumentalisation by submitting him

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poses, including antibiotics, enzymes used in industry, pigments, aromas, flavors, etc. Since the production of several of these compounds is stimulated by light, it could be used as a gratuitous inducer. Intriguingly, recent evidences point to a role of light in fungal virulence of human and plant