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181   $ctxt$2rdacontent
182   $cc$2rdamedia
183   $acr$2rdacarrier
200 12$aA Stage of Emancipation $eChange and Progress at the Dublin Gate Theatre
210   $cLiverpool University Press$d2021
210  1$aLiverpool :$cLiverpool University Press,$d2021.
210  4$d©2021.
215   $a1 online resource (248 pages)
311   $a1-80085-951-1 
311   $a1-80085-610-5 
327   $gMachine generated contents note:$g1.$tIntroduction: A Stage of Emancipation /$rRuud van den Beuken --$gpt. I$tLiberating Bodies --$g2.$tQueering the Irish Actress: The Gate Theatre Production of Children in Uniform (1934) /$rMary Trotter --$g3.$tMaura Laverty at the Gate: Theatre as Social Commentary in 1950s Ireland /$rDeirdre McFeely --$gpt. II$tEmancipating Communities --$g4.$t`Let's Be Gay, While We May': Artistic Platforms and the Construction of Queer Communities in Mary Manning's Youths the Season --? /$rGrace Vroomen --$g5.$tImages and Imperatives: Robert Collis's Marrowbone Lane. (1939) at the Gate as Theatre for Social Change /$rIan R. Walsh --$g6.$tAuthenticity and Social Change on the Gate Stage in the 1970s: `Communicating with the People' /$rBarry Houlihan --$gpt. III$tStaging Minority Languages --$g7.$tMicheal mac Liammoir, the Irish Language, and the Idea of Freedom /$rRadvan Markus --$g8.$tThe Use of Minority Languages at Dublin's Gate Theatre and Barcelona's Teatre Lliure /$rDavid Clare --$gpt. IV$tDeconstructing Aesthetics --$g9.$tMogu and the Unicorn: Frederick May's Music for the Gate Theatre /$rMark Fitzgerald --$g10.$tTartan Transpositions: Materialising Europe, Ireland, and Scotland in the Designs of Molly MacEwen /$rSiobhdn O'Gorman --$gpt. V$tContesting Traditions in Contemporary Theatre --$g11.$tFrom White Othello to Black Hamlet: A History of Race and Representation at the Gate Theatre /$rJustine Nakase --$g12.$tBending the Plots: Selina Cartmell's Gate and Politics of Gender Inclusion /$rMarguerite Corporaal.
330   $aUncovering 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.
517   $aStage of Emancipation
606   $aTheatre studies$2bicssc
610   $aIreland;Irish theatre;marginalized groups;social emancipation;gender;ethnicity;language;class
615  7$aTheatre studies
676   $a792.0941835
700   $aCorporaal$b Marguérite$0903714
701   $aBeuken$b Ruud van den$01082424
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