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Author:   David Clare ,  Fiona McDonagh ,  Justine Nakase
Publisher:   Liverpool University Press
Imprint:   Liverpool University Press
ISBN:  

9781800859463

ISBN 10:   1800859465
Pages:   344
Publication Date:   01 July 2021
Audience:   General/trade ,  Professional and scholarly ,  General ,  Professional & Vocational
Format:   Hardback
Publisher's Status:   Active
Availability:   In Print  
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Table of Contents

IntroductionDavid Clare, Fiona McDonagh & Justine Nakase “There’s no Place like old England”: Space and Identity in Mary Davys’s The Northern Heiress; Or, the Humours of York (1716) Marguérite Corporaal “Some tender scenes demand the melting tear”: Frances Sheridan’s The Discovery (1763) and the Vindication of “Sentimental Comedy” Conrad Brunström Irish Wit on the London Stage: Elizabeth Griffith’s The Platonic Wife (1765) Clíona Ó Gallchoir Deceptive Disabilities in Maria Edgeworth’s The Double Disguise (1786): Irish Patriotism, Consumption, and the Martial Male Body Sonja Lawrenson Reimagining Maria Edgeworth’s The Knapsack (1801) for a Contemporary Young Audience Fiona McDonagh & Marc Mac Lochlainn Mary Balfour’s Kathleen O’Neil (1814): An Expression or Betrayal of Her Ulster Scots Background? David Clare Justice and the “Triple Goddess” Archetypes in Anna Maria Hall’s Mabel’s Curse (1837) Ciara Moloney Operas without a Hero: A Comic Trilogy (1876–1879) by Elena Norton and Mary HeyneMark Fitzgerald “Petticoats!—petticoats! petticoats!”: Sartorial Economics in Clotilde Graves’s A Mother of Three (1896) Justine Nakase From Gort to Antarctica: Lady Gregory’s Audiences and The Rising of the Moon (1903) Anna Pilz Lady Gregory’s Grania (1912): Myth and Mythology Shirley-Anne Godfrey “You have let the play go to pieces”: Geraldine Cummins and Susanne R. Day’s Fox and Geese (1917) and the Hegemony of the Early Abbey Theatre Thomas Conway “Something left over from the Eighteenth Century, undergoing a slow process of decay”: The Impotence of the Ascendancy in Mary Manning’s Youth’s the Season–? (1931) Ruud van den Beuken Shape Shifting the Silence: An Analysis of Talk Real Fine, Just Like a Lady (2017) by Amanda Coogan in Collaboration with Dublin Theatre of the Deaf, an Appropriation of Teresa Deevy’s The King of Spain’s Daughter (1935) Úna Kealy & Kate McCarthy The Premiere Staging of Mount Prospect (1940) by Elizabeth Connor (the Pen Name of Una Troy) at the Abbey Theatre Ciara O’Dowd Corruption and Socio-Political Tensions in Christine Longford’s Tankardstown (1948) Kevin O’Connor Social Class, Space, and Containment in 1950s Ireland: Maura Laverty’s “Dublin Trilogy” (1951–1952) Cathy Leeney & Deirdre McFeely Máiréad Ní Ghráda’s An Triail/On Trial (1964): Hiding Hypocrisy in Plain Sight Feargal Whelan Christina Reid: Acts of Memory in Tea in a China Cup (1983), The Belle of the Belfast City (1989), and My Name, Shall I Tell You My Name (1989) Emilie Pine Anne Devlin: Depicting a Gendered Journey: Men and Women on The Long March (1984) Megan W. Minogue A Partial Eclipse: The Role of the Religious in Patricia Burke Brogan’s Eclipsed (1988 / 1992) Patricia O’Beirne Coda – What the Woman Sees: Waking Up to Feminist Aesthetics Cathy Leeney

Reviews

'Spanning from the eighteenth-century to the present day, The Golden Thread brings together the work of leading scholars in Irish theatre and women’s writing with that of theatre practitioners to recover the often-hidden contributions of women playwrights. The collection develops a counter-canon of Irish playwrights that examines issues of class, sexuality, and disability.' Colleen English, The New Books Network 'This is one of those indispensable works that will influence the future of performance studies and feminist criticism. The number and variety of voices on display, the effort in the reconstruction of the canon by adding women playwrights who had been erased in the past, and the declared ambition to draw attention to and create the conditions for revivals and publications of plays created by contemporary women playwrights make this extensive compilation more than recommendable. [....] All in all, a very enjoyable edition, which makes for a rewarding read and provides essential information.' María Gaviña-Costero, Estudios Irlandeses 'In a word, The Golden Thread: Irish Women Playwrights, 1716–2016... is superb. This two-volume collection showcases writers familiar and less familiar, offers valuable context and incisive textual readings, attends to performance as well as stagecraft, and ranges among historical periods and critical approaches.' Prof. Paige Reynolds, English Studies ‘The Golden Thread is an ambitious, richly textured and multifaceted research piece that opens up the field of Irish theatre studies in most fruitful ways. It offers a robust counteracting to the under-representation of Irish women playwrights in the canon and is a strong incentive for producers to revive their work… a most valuable book for anyone interested in Irish studies, in Irish theatre studies and also for anyone interested in an alternative history of Irish theatre.’ Hélène Lecossois, Études irlandaises

'Spanning from the eighteenth-century to the present day, The Golden Thread brings together the work of leading scholars in Irish theatre and women's writing with that of theatre practitioners to recover the often-hidden contributions of women playwrights. The collection develops a counter-canon of Irish playwrights that examines issues of class, sexuality, and disability.' Colleen English, The New Books Network 'This is one of those indispensable works that will influence the future of performance studies and feminist criticism. The number and variety of voices on display, the effort in the reconstruction of the canon by adding women playwrights who had been erased in the past, and the declared ambition to draw attention to and create the conditions for revivals and publications of plays created by contemporary women playwrights make this extensive compilation more than recommendable. [....] All in all, a very enjoyable edition, which makes for a rewarding read and provides essential information.' Maria Gavina-Costero, Estudios Irlandeses

Author Information

David Clare is Lecturer in Drama and Theatre Studies at Mary Immaculate College, University of Limerick. Fiona McDonagh is Lecturer in Drama and Theatre Studies at Mary Immaculate College, University of Limerick. Justine Nakase is Adjunct Lecturer at Portland State University.

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