New dramaturgies have been fermenting and many have been practised by a range of innovative performances and non - text - based devised practices . The greatest dilemma for all writing , however , lies within the dramaturgy itself ...
Author: Eamonn Jordan
From Boston to Berlin, and from Belfast to Beijing, the performances of Irish plays have been greeted with critical and box-office acclaim. Plays by Marina Carr, Brian Friel, Marie Jones, Martin McDonagh, Frank McGuinness, Tom Murphy, Mark O'Rowe, Conor McPherson, and Enda Walsh have toured extensively, and have been translated and adapted for new performance contexts. This book examines the dominant approaches and the recurrent and variable dramaturgical patterns in the writings of the contemporary generation of writers from 1980 to the present. Six very specific, dominant configurations or constructions that shape the blatant dramaturgy of Irish Theatre are considered in individual chapters that focus the relationships between history, memory, and metatheatre, how the notion of innocence is contested, the various deployments of a range of myths by contemporary playwrights, the consequences of perverting pastoral consciousness, and the implications and repercussions of storytelling to a tradition of writing. In all of the work produced both locally and abroad, Ireland, and a coerced and admired notion of 'Irishness' function, in part as a commodity but also as something uniquely defiant, liberating, and dissident in itself.