NEW PUBLICATIONS AND PUBLISHING OPPORTUNITIES
Please find below the Call for Papers for the following collections commissioned by Carysfort Press:
The Theatre of Mark O'Rowe
The Theatre of Enda Walsh
The Theatre of Marie Jones
Performance in Irish Theatre: Histories and Contemporary Practice
Radical Contemporary Theatre Practices by Women Theatre Makers
Call for Essays: The Theatre of Mark O'Rowe
Editors: Dr Sara Keating and Emma Creedon.
Contributions are sought for a collection of essays on the work of Mark
O'Rowe to be published by Carysfort Press in Spring 2014. The volume will take
as its focus O'Rowe's stage work, but the editors will also welcome
contributions that feature analysis of his films. Areas of particular interest
to the book include:
The editors welcome submissions from theatre practitioners. Proposals for essays (5000-6000 words), should be discussed with the editors at email@example.com as soon as possible and before 1 April 2013.
Call for Essays: The Theatre of Enda Walsh
Editors: Dr Ian Walsh and Dr Mary Caulfield
Contributions are sought for a collection of essays on the work of Enda Walsh to be published by Carysfort Press in Spring 2014. The volume will take as its focus Walsh's stage work, but the editors will also welcome contributions that feature analysis of his films. Areas of particular interest to the book include:
Call for Papers: The
Theatre of Marie Jones (2014)
Contributions are sought for a collection of essays edited by Tom Maguire (University of Ulster) and Eugene McNulty (St Patrick's College, DCU).
Marie Jones is one of the most prolific and popular writers working in Northern Irish theatre today. Her work has achieved local relevance and international recognition. In the course of a remarkable career now spanning five decades, Jones has been an actor, playwright, and screenwriter; she also helped establish two major theatre companies (Charabanc and DubbelJoint) as well as playing a major role in theatre-in-education through her plays for Replay Productions. From 1983's Lay Up Your Ends to Fly Me to the Moon (2012), Jones's work has engaged with Irish (and, more often than not, specifically Northern Irish) experience in ways that reveal the ways in which the personal is political in a distinctive form of popular theatre. The editors seek essays that engage with Jones's oeuvre, her reception in Ireland and beyond, and her position in the canon of contemporary drama.
Areas of interest to the collection include (but are not limited to):
Proposals (300-400 words) for essays (5000-6000 words) should be submitted to Tom Maguire (firstname.lastname@example.org) and Eugene McNulty (email@example.com) by February 28, 2013, with final essays to be submitted by September 20.
Call for Papers: Radical Contemporary Theatre Practices by Women in Ireland
Editors: Miriam Haughton and Mária Kurdi
To be published by Carysfort Press in late 2014
From the 1990s onwards there are many emerging female voices in Irish
theatre practice who look to make theatre in new and exciting ways. The
current plethora of works achieved by women question
and undermine the constructs and borders of personal and communal
identity, concepts of femininities and masculinities as well as the
established hierarchies of power in national institutions and
traditional beliefs. Also, they bring to the fore the alternative
social experiences which arise from time-space compressions in a
globalised and digital cultural climate, while discovering suppressed
narratives in the official patriarchal discourses of modern Ireland for a
renegotiation of the value systems related to gender, class, ethnicity
This prospective collections seeks to include papers and interviews which analyse and discuss the role of women in the
changing shifts across the field of contemporary Irish theatre-making,
South and North. Areas of interest for the volume are (but not limited
to) innovative theatre practices by women in the respective work of:
- practitioners, directors, designers and/or actresses. - playwrights (Nancy Harris, Stella Feehily, Geraldine Aron, Ursula Rani Sarma, Trudy Hayes, Deirdre Hines, Emma Donoghue, Maria Connolly, Deirdre Kinahan, etc.) and/or collaborative groups. - performance artists and solo performers. - communal theatre programmes and events
Call for Papers: Devised Performance in Irish Theatre: Histories and Contemporary Practices
Edited by Charlotte McIvor and Siobhán O'Gorman
This essay collection situates the histories and contemporary practice of devised performance in Irish theatre. The use of devised performance techniques within Irish theatre harnesses the artistic potential of diverse sites, participants, sources and techniques as one of its major aims. The named theatrical genres frequently employed vis-à-vis a devised working process include but are not limited to physical, immersive, site-specific, improvised, collaborative, community, adapted, documentary and verbatim theatre.
Devised Performance in Irish Theatre responds to a decisive shift in the working approach of several prominent emerging Irish companies including Anu Productions, Brokentalkers, THEATREclub, THISISPOPBABY and The Company. This contemporary surge of work builds on a physical and dance theatre movement in Irish theatre that began to coalesce in the 1990s through the work of companies such as Barabbas, Macnas, Blue Raincoat, Corn Exchange, Pan Pan, and Corcadorca which was in turn influenced by earlier genealogies of community arts practice on the island of Ireland beginning in the late 1970s. This collection will address work throughout both the Republic and Northern Ireland in recognition of the dialectical development of community arts by way of shared resources and collaboration between artists working cross-border from the 1970s to the present.
We welcome proposals for contributions (up to 5000 words), from both academics and practitioners, which might focus on the work of individual companies or a series of productions and/or explore some of the following issues and questions:
· What kinds of cultural commentaries do various devised practices offer and what ethical concerns do they unearth?
· In the face of the inequality, changing demographics, social exclusion and exploitation linked to the globalisation and economic vicissitudes of Ireland since the 1990s, could devised theatre play a role in fostering empathy, inclusion, community and aspirations towards social justice?
· In Northern Ireland, following the peace process, how can devised practices negotiate needs to communicate the past with desires to imagine a more harmonious future?
· How does the flexible structure of devised performance, which is not always mounted on a strictly professional basis, relate to the meanings of the "professional" and "professionalism" within Irish theatre at large in terms of sustainability and ethics, i.e. what it means to make a living wage or have "ownership of a work"?
· How does the climate of increasingly reduced arts funding within Ireland, where even the most critically acclaimed companies might not receive enough funding to adequately compensate all 'professional' collaborators, relate to the prevalence and potential of devised performance?
· How have international interlocutors inspired Irish devised performance practice, and what can specifically Irish practices of devised performance contribute to an understanding of techniques, practices and reception within this genre globally?
Proposals (400-500 words) for essays (max 5000 words) should be
submitted to Siobhán O'Gorman (firstname.lastname@example.org)
and Charlotte McIvor (email@example.com
RECENT ISTR PUBLICATIONS
1. FOCUS 2012: Interfaces between Irish and European Theatre (Ed. Mária Kurdi, Institute of English Studies, Department of English Literatures and Cultures, University of Pécs).
Please find below further info about the content of the collection:
The editor of Focus, Dr. Mária Kurdi is the author of Representations of Gender and Female Subjectivity in Contemporary Irish Drama by Women (Edwin Mellen, 2010)
Please find below a review flyer on the volume: Flyer
2. Rhona Trench (ed.) Staging Thought: Essays on Irish Theatre, Scholarship and Practice (Oxford: Peter Lang, 2012).
Please find below further info on the editor, and the content of the collection:
Rhona Trench is Programme Chair of the BA in Performing Arts at the
Institute of Technology, Sligo, where she is also Lecturer in Drama
Studies and Directing for Theatre. She is Vice President of the Irish
Society for Theatre Research. Her publications include Bloody Living: The Loss of Selfhood in the Plays of Marina Carr (Peter Lang, 2010).
Please find below an updated list of new books by ISTR members
Monica Insinga and Selena Daly (eds.), The European Avant-Garde: Text and Image (CSP, 2012). To download a book sample, please click here. For further info, go to the following link; for pictures of the Book Launch, 7 February 2013, Italian Institute of Culture, Dublin go to our Gallery
Patrick Lonergan, The Theatre and Films of Martin McDonagh (Methuen Drama, 2012). For further info, please go to this website
Rhona Trench, Staging Thought: Essays on Irish Theatre, Scholarship and Practice (Peter Lang, 2012). For further info and to download book samples, please see above.
Maria Kurdi, Interfaces Between Irish and European Theatre, Journal (2012). To download the full journal, please see above.
Maria Kurdi, Representations of Gender and Female Subjectivity in Contemporary Irish Drama by Women (Edwin Mellen, 2010). To download a publicity flyer, please see above.
Patrick Lonergan (ed.), Synge and His Influences: Centenary Essays from the Synge Summer School (Carysfort Press, 2011). For further info, please go the following link
Anthony Roche, Brian Friel: Theatre and Politics (Palgrave Macmillan, 2011). For further info click here
Melissa Sihra and Pirkko Koski (eds.), The Local Meets the Global in Performance (Cambridge Scholars Press, 2010). To download a book sample, please click here. For further info, go to the following website
Brian Singleton, Masculinities and the Contemporary Irish Theatre (Palgrave Macmillan, 2011). For further details go to the following page
Caroline Magennis and Raymond Mullen (eds.), Irish Masculinities: Reflections on Literature and Culture (Irish Academic Press, 2011). For further details click here
Bernadette Sweeney and Marie Kelly (eds.), The Theatre of Tom Mac Intyre: Strays from the Ether (Carysfort Press, 2010). For more details go to the following link
Fintan Walsh (ed.), Queer Notions: New Plays and Performances from Ireland (Cork University Press, 2010). For further details and reviews go to this website
Fintan Walsh, Male Trouble: Masculinity and the Performance of Crisis (Palgrave Macmillan, 2010). For further info, preview as well as reviews click here
Irina Ruppo Malone, Ibsen and the Irish Revival (Palgrave Macmillan, 2010). For details, preview and reviews of this book, go to this page
S.E. Wilmer and Audrone Zukauskaite (eds.), Interrogating Antigone in Postmodern Philosophy and Criticism (Oxford University Press, 2010). For further info on this publication, table of contents and reviews go to the following link
Books of interest to ISTR members
Eibhear Walshe, Oscar's Shadow: Wilde, Homosexuality and Modern Ireland (Cork University Press, 2012)
Deirdre McFeely, Dion Boucicault: Irish Identity on Stage (Cambridge University Press, 2012)
Catherine Morris, Alice Milligan and the Irish Cultural Revival (Four Courts Press, 2012)
Victor Merriman, Because We Are Poor: Irish Theatre in the 1990s (Carysfort Press, 2011)
Helen Heusner Lojek, The Spaces of Irish Drama:Stage and Place in Contemporary Plays (Palgrave Macmillan, 2011)
Aidan O'Malley, Field Day and the Translation of Irish Identities: Performing Contradictions (Palgrave Macmillan, 2011)
Christopher Fitz-Simon, Buffoonery and East Sentiment: Popular Irish Plays in the Decade prior to the Opening of the Abbey Theatre (Carysfort Press, 2011)
Peter James Harris, From Stage to Page: Critical Reception of Irish Plays in the London Theatre, 1925-1996 (Peter Lang, 2011)
Dennis Kennedy (ed.), The Oxford Companion to Theatre and Performance (Oxford University Press, 2010)
John McCormick with Alfonso Cipolla and Alessandro Napoli, The Italian Puppet Theater: A History (McFarland, 2010)