Editors
Eamonn Jordan
School of English, Drama and Film, University College Dublin, Dublin, Ireland
Eric Weitz
School of Creative Arts, Trinity College Dublin, Dublin, Ireland
ISBN 978-1-137-58587-5 e-ISBN 978-1-137-58588-2
https://doi.org/10.1057/978-1-137-58588-2
Library of Congress Control Number: 2018952933
The author(s) has/have asserted their right(s) to be identified as the author(s) of this work in accordance with the Copyright, Designs and Patents Act 1988.
The Editor(s) (if applicable) and The Author(s) 2018
This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed.
The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use.
The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institutional affiliations.
Cover illustration: The Seagull & Other Birds Robert Altman Photography
This Palgrave Macmillan imprint is published by the registered company Springer Nature Limited
The registered company address is: The Campus, 4 Crinan Street, London, N1 9XW, United Kingdom
This book is dedicated to the memory of Tom Murphy (19352018).
Acknowledgements
A collection such as this, which attempts to assemble a wide range of original contributions, comes more and more to lean upon not only the expertise but the altruism of (1) scholars, subject in the current climate to third-level institutions insisting they produce research with a minimum of meaningful support (in terms of time and money), while in many cases minimizing the official worth of contributions to such collections; and (2) practitioners who have little, if anything, to gain professionally from such endeavours and who are all too accustomed to having their time and energy exploited. A massive amount of gratitude must therefore go to each and every one of our contributors for somehow carving out time and brain space in overstuffed, underpaid lives for the good of the project.
We owe particular thanks to Angie Butler who served as a first line of editorial organization for the manuscript. We also owe an extreme debt of thanks to Palgrave for its interest, support, co-operation and, inevitably, its understanding and patiencein particular, the people who have worked with us directly: Peter Cary, Jen McCall, Vicky Bates and Tomas Ren, as well as Dhana and her editorial team. We would like to put on record our thanks to Robert Altman for the use of his photograph in the cover design, and Pan Pan for facilitating such permission, also including the actors pictured; to the Irish Society for Theatre Research, at whose conferences some of these ideas were first aired and to which most of the contributors belong; and to our respective schools and departments for their support.
List of Figures
Live Art in Ireland
Fig. 1 Amanda Coogan, Yellow , RHA Dublin, October 2015. (Photo credit: Paddy Cahill)
Fig. 2 Dominic Thorpe, Redress StateQuestions Imagined , Performance at 126 Gallery Galway 2010. (Photo credit: Jonathon Salmon)
Fig. 3 ine Phillips, Redress , Right here Right Now, Kilmainham Gaol 2010. (Photo credit: T. OBrien)
Fig. 4 Anne Ffrench and Aideen Barry, Heteratopic Glitch . (Photo credit: John Allen)
Props to the Abbey Prop Man
Fig. 1 Religious statues hung with rosary beads, alongside modern kitchen appliances and a vintage cobblers advertisement in an Abbey Theatre prop store, 2016. (Permission, Eimer Murphy)
Fig. 2 Publicity brochure produced for a 1906 UK tour of the new Irish plays produced by the Abbey Theatre. (Permission, Abbey Theatre Archive)
Fig. 3 The original Plough pram, 1976. Bill Foley as Uncle Peter looks on while Siobhn McKenna as Bessie Burgess and Angela Newman as Jinny Gogan fight over the original pram in the 1976 production of Plough . The rough treatment of the pram in this scene lead to its eventual retirement from the stage in 1999. (Photo: Fergus Bourke, Permission, Abbey Theatre Archive)
Fig. 4 The role of the Property Master, Abbey Theatre job description, 1978. (Permission, Stephen Molloy)
Fig. 5 Mid-century Jacobean style sideboard, 2014. When I found this oak sideboard in a second-hand shop, it was the potential of the barley twist base, a feature associated with Jacobean era furniture, and the panelled doors that caught my eye. (Permission, Eimer Murphy)