03447nam 22005053 450 991047262540332120230621135955.01-80085-862-010.3828/9781800859517(CKB)5590000000463057(MiAaPQ)EBC6734878(Au-PeEL)EBL6734878(OCoLC)1249445535(oapen)https://directory.doabooks.org/handle/20.500.12854/69573(PPN)266443893(EXLCZ)99559000000046305720220207d2021 uy 0engurcnu||||||||txtrdacontentcrdamediacrrdacarrierA Stage of Emancipation Change and Progress at the Dublin Gate TheatreLiverpool University Press2021Liverpool :Liverpool University Press,2021.©2021.1 online resource (248 pages)1-80085-951-1 1-80085-610-5 Machine generated contents note:1.Introduction: A Stage of Emancipation /Ruud van den Beuken --pt. ILiberating Bodies --2.Queering the Irish Actress: The Gate Theatre Production of Children in Uniform (1934) /Mary Trotter --3.Maura Laverty at the Gate: Theatre as Social Commentary in 1950s Ireland /Deirdre McFeely --pt. IIEmancipating Communities --4.`Let's Be Gay, While We May': Artistic Platforms and the Construction of Queer Communities in Mary Manning's Youths the Season --? /Grace Vroomen --5.Images and Imperatives: Robert Collis's Marrowbone Lane. (1939) at the Gate as Theatre for Social Change /Ian R. Walsh --6.Authenticity and Social Change on the Gate Stage in the 1970s: `Communicating with the People' /Barry Houlihan --pt. IIIStaging Minority Languages --7.Micheal mac Liammoir, the Irish Language, and the Idea of Freedom /Radvan Markus --8.The Use of Minority Languages at Dublin's Gate Theatre and Barcelona's Teatre Lliure /David Clare --pt. IVDeconstructing Aesthetics --9.Mogu and the Unicorn: Frederick May's Music for the Gate Theatre /Mark Fitzgerald --10.Tartan Transpositions: Materialising Europe, Ireland, and Scotland in the Designs of Molly MacEwen /Siobhdn O'Gorman --pt. VContesting Traditions in Contemporary Theatre --11.From White Othello to Black Hamlet: A History of Race and Representation at the Gate Theatre /Justine Nakase --12.Bending the Plots: Selina Cartmell's Gate and Politics of Gender Inclusion /Marguerite Corporaal.Uncovering a wide range of marginalised histories of gender, class, language, ethnicity and sexuality, this volume shows how the Dublin Gate Theatre (est. 1928) played various emancipatory roles in Irish culture and society, both under the directorate of its founders, Hilton Edwards and Micheál mac Liammóir, but also in more recent times.Stage of EmancipationTheatre studiesbicsscIreland;Irish theatre;marginalized groups;social emancipation;gender;ethnicity;language;classTheatre studies792.0941835Corporaal Marguérite903714Beuken Ruud van den1082424MiAaPQMiAaPQMiAaPQBOOK9910472625403321A Stage of Emancipation2597816UNINA