Nicholas Grene is Emeritus Professor of English at Trinity College, Dublin. He has published extensively on a range of topics, including Irish theatre, Shakespeare, Yeats, Shaw and Indian literature in English. His impact on Irish theatre research extends back to Synge: A Critical Study of the Plays (1975); his study of modern Irish theatre, The Politics of Irish Drama (1999) has been highly influential, and his most recent book is Home on the Stage (2014). He is a founding director of both the Synge Summer School and the Irish Theatre Diaspora Project. He is a Member of the Royal Irish Academy.Chris Morash is Seamus Heaney Professor of Irish Writing at Trinity College, Dublin; he was previously Professor of English in Maynooth University. Born in Canada, he has published widely on Irish literature and cultural history, including Writing the Irish Famine (1996), A History of Irish Theatre 1601-2000 (2002), A History of the Media in Ireland (2009), and Mapping Irish Theatre (with Shaun Richards, 2013). His History of Irish Theatre won the Theatre Book Prize in 2003, and is widely regarded as the standard history in the field. He is a Member of the Royal Irish Academy.

Chris Morash and Nicholas Grene have made an immeasurable contribution to academic writing on theatre in general and contemporary Irish theatre in particular.

• Nicholas Grene and Chris Morash: Introduction Part I: Nineteenth-Century Legacies 1: Stephen Watt: The Inheritance of Melodrama 2: Michael McAteer: Oscar Wilde: International Politics and the Drama of Sacrifice Part II: Theatre and Nation 3: Ben Levitas: The Abbey and the Idea of a Theatre 4: P.J. Mathews: Theatre and Activism 1900-1916 5: Terence Brown: W.B. Yeats and Rituals of Performance 6: Mary Burke: The Riot of Spring: Synge's 'Failed Realism' and the Peasant Drama Part III: Models and Influences 7: Shaun Richards: 'We Were Very Young and We Shrank From Nothing': Realism and Early Twentieth-Century Irish Drama 8: Richard Cave: Modernism and Irish Theatre 1900-1940 9: Brad Kent: Missing Links: Bernard Shaw and the Discussion Play Part IV: Revolution and Beyond 10: Nicholas Allen: Imagining the Rising 11: Lauren Arrington: The Abbey Theatre and the Irish State 12: Christopher Murray: O'Casey and the City Part V: Performance 1 13: Paige Reynolds: Design and Direction To 1960 14: Eibhear Walshe: The Importance of Staging Oscar: Wilde At the Gate 15: Adrian Frazier: Irish Acting in the Early Twentieth Century Part VI: Contesting Voices 16: Brian Ó Conchubhair: Twisting in the Wind: Irish-Language Stage Theatre 1884-2014 17: Cathy Leeney: Women and Irish Theatre Before 1960 18: Lionel Pilkington: The Little Theatres of the 1950s Part VII: The New Revival 19: Lisa Coen: Urban and Rural Theatre Cultures: M.J. Molloy, John B. Keane, and Hugh Leonard 20: Anthony Roche: Brian Friel and Tom Murphy: Forms of Exile 21: José Lanters: Thomas Kilroy and the Idea of a Theatre Part VIII: Diversification 22: Marilynn Richtarik: Brian Friel and Field Day 23: Mark Phelan: From Troubles to Post-Conflict Theatre in Northern Ireland 24: Victor Merriman: 'As We Must': Growth and Diversification in Ireland's Theatre Culture 1977-2000. 25: Shelley Troupe: From Druid/Murphy To DruidMurphy Part IX: Performance 2 26: Chris Morash: Places of Performance 27: Ian R. Walsh: Directors and Designers since 1960 28: Nicholas Grene: Defining Performers and Performances 29: Julie Bates: Beckett at the Gate Part X: Contemporary Irish Theatre 30: Helen Heusner Lojek: Negotiating Differences in the Plays of Frank McGuinness 31: Emilie Pine: Drama Since the 1990s: Memory, Story, Exile 32: Clare Wallace: Irish Drama Since the 1990s: Disruptions 33: Melissa Sihra: Shadow and Substance: Women, Feminism, and Irish Theatre After 1980 34: Brian Singleton: Irish Theatre Devised Part XI: Ireland and the World 35: Rónán McDonald: Global Beckett 36: John P. Harrington: Irish Theatre and the United States 37: James Moran: Irish Theatre in Britain 38: Ond%rej Pilný: Irish Theatre in Europe 39: Patrick Lonergan: 'Feast and Celebration': The Theatre Festival and Modern Irish Theatre 40: Christina Hunt Mahony: Reinscribing the Classics, Ancient and Modern: The Sharp Diagonal of Adaptation Part XII: Critical Responses 41: Eamonn Jordan: Irish Theatre and Historiography

Nicholas Grene is Emeritus Professor of English at Trinity College, Dublin. He has published extensively on a range of topics, including Irish theatre, Shakespeare, Yeats, Shaw and Indian literature in English. His impact on Irish theatre research extends back to Synge: A Critical Study of the Plays (1975); his study of modern Irish theatre, The Politics of Irish Drama (1999) has been highly influential, and his most recent book is Home on the Stage (2014). He is a founding director of both the Synge Summer School and the Irish Theatre Diaspora Project. He is a Member of the Royal Irish Academy.Chris Morash is Seamus Heaney Professor of Irish Writing at Trinity College, Dublin; he was previously Professor of English in Maynooth University. Born in Canada, he has published widely on Irish literature and cultural history, including Writing the Irish Famine (1996), A History of Irish Theatre 1601-2000 (2002), A History of the Media in Ireland (2009), and Mapping Irish Theatre (with Shaun Richards, 2013). His History of Irish Theatre won the Theatre Book Prize in 2003, and is widely regarded as the standard history in the field. He is a Member of the Royal Irish Academy.

Chris Morash and Nicholas Grene have made an immeasurable contribution to academic writing on theatre in general and contemporary Irish theatre in particular.

• Nicholas Grene and Chris Morash: Introduction Part I: Nineteenth-Century Legacies 1: Stephen Watt: The Inheritance of Melodrama 2: Michael McAteer: Oscar Wilde: International Politics and the Drama of Sacrifice Part II: Theatre and Nation 3: Ben Levitas: The Abbey and the Idea of a Theatre 4: P.J. Mathews: Theatre and Activism 1900-1916 5: Terence Brown: W.B. Yeats and Rituals of Performance 6: Mary Burke: The Riot of Spring: Synge's 'Failed Realism' and the Peasant Drama Part III: Models and Influences 7: Shaun Richards: 'We Were Very Young and We Shrank From Nothing': Realism and Early Twentieth-Century Irish Drama 8: Richard Cave: Modernism and Irish Theatre 1900-1940 9: Brad Kent: Missing Links: Bernard Shaw and the Discussion Play Part IV: Revolution and Beyond 10: Nicholas Allen: Imagining the Rising 11: Lauren Arrington: The Abbey Theatre and the Irish State 12: Christopher Murray: O'Casey and the City Part V: Performance 1 13: Paige Reynolds: Design and Direction To 1960 14: Eibhear Walshe: The Importance of Staging Oscar: Wilde At the Gate 15: Adrian Frazier: Irish Acting in the Early Twentieth Century Part VI: Contesting Voices 16: Brian Ó Conchubhair: Twisting in the Wind: Irish-Language Stage Theatre 1884-2014 17: Cathy Leeney: Women and Irish Theatre Before 1960 18: Lionel Pilkington: The Little Theatres of the 1950s Part VII: The New Revival 19: Lisa Coen: Urban and Rural Theatre Cultures: M.J. Molloy, John B. Keane, and Hugh Leonard 20: Anthony Roche: Brian Friel and Tom Murphy: Forms of Exile 21: José Lanters: Thomas Kilroy and the Idea of a Theatre Part VIII: Diversification 22: Marilynn Richtarik: Brian Friel and Field Day 23: Mark Phelan: From Troubles to Post-Conflict Theatre in Northern Ireland 24: Victor Merriman: 'As We Must': Growth and Diversification in Ireland's Theatre Culture 1977-2000. 25: Shelley Troupe: From Druid/Murphy To DruidMurphy Part IX: Performance 2 26: Chris Morash: Places of Performance 27: Ian R. Walsh: Directors and Designers since 1960 28: Nicholas Grene: Defining Performers and Performances 29: Julie Bates: Beckett at the Gate Part X: Contemporary Irish Theatre 30: Helen Heusner Lojek: Negotiating Differences in the Plays of Frank McGuinness 31: Emilie Pine: Drama Since the 1990s: Memory, Story, Exile 32: Clare Wallace: Irish Drama Since the 1990s: Disruptions 33: Melissa Sihra: Shadow and Substance: Women, Feminism, and Irish Theatre After 1980 34: Brian Singleton: Irish Theatre Devised Part XI: Ireland and the World 35: Rónán McDonald: Global Beckett 36: John P. Harrington: Irish Theatre and the United States 37: James Moran: Irish Theatre in Britain 38: Ond%rej Pilný: Irish Theatre in Europe 39: Patrick Lonergan: 'Feast and Celebration': The Theatre Festival and Modern Irish Theatre 40: Christina Hunt Mahony: Reinscribing the Classics, Ancient and Modern: The Sharp Diagonal of Adaptation Part XII: Critical Responses 41: Eamonn Jordan: Irish Theatre and Historiography

Nicholas Grene is Emeritus Professor of English at Trinity College, Dublin. He has published extensively on a range of topics, including Irish theatre, Shakespeare, Yeats, Shaw and Indian literature in English. His impact on Irish theatre research extends back to Synge: A Critical Study of the Plays (1975); his study of modern Irish theatre, The Politics of Irish Drama (1999) has been highly influential, and his most recent book is Home on the Stage (2014). He is a founding director of both the Synge Summer School and the Irish Theatre Diaspora Project. He is a Member of the Royal Irish Academy.Chris Morash is Seamus Heaney Professor of Irish Writing at Trinity College, Dublin; he was previously Professor of English in Maynooth University. Born in Canada, he has published widely on Irish literature and cultural history, including Writing the Irish Famine (1996), A History of Irish Theatre 1601-2000 (2002), A History of the Media in Ireland (2009), and Mapping Irish Theatre (with Shaun Richards, 2013). His History of Irish Theatre won the Theatre Book Prize in 2003, and is widely regarded as the standard history in the field. He is a Member of the Royal Irish Academy.

Chris Morash and Nicholas Grene have made an immeasurable contribution to academic writing on theatre in general and contemporary Irish theatre in particular.

• Nicholas Grene and Chris Morash: Introduction Part I: Nineteenth-Century Legacies 1: Stephen Watt: The Inheritance of Melodrama 2: Michael McAteer: Oscar Wilde: International Politics and the Drama of Sacrifice Part II: Theatre and Nation 3: Ben Levitas: The Abbey and the Idea of a Theatre 4: P.J. Mathews: Theatre and Activism 1900-1916 5: Terence Brown: W.B. Yeats and Rituals of Performance 6: Mary Burke: The Riot of Spring: Synge's 'Failed Realism' and the Peasant Drama Part III: Models and Influences 7: Shaun Richards: 'We Were Very Young and We Shrank From Nothing': Realism and Early Twentieth-Century Irish Drama 8: Richard Cave: Modernism and Irish Theatre 1900-1940 9: Brad Kent: Missing Links: Bernard Shaw and the Discussion Play Part IV: Revolution and Beyond 10: Nicholas Allen: Imagining the Rising 11: Lauren Arrington: The Abbey Theatre and the Irish State 12: Christopher Murray: O'Casey and the City Part V: Performance 1 13: Paige Reynolds: Design and Direction To 1960 14: Eibhear Walshe: The Importance of Staging Oscar: Wilde At the Gate 15: Adrian Frazier: Irish Acting in the Early Twentieth Century Part VI: Contesting Voices 16: Brian Ó Conchubhair: Twisting in the Wind: Irish-Language Stage Theatre 1884-2014 17: Cathy Leeney: Women and Irish Theatre Before 1960 18: Lionel Pilkington: The Little Theatres of the 1950s Part VII: The New Revival 19: Lisa Coen: Urban and Rural Theatre Cultures: M.J. Molloy, John B. Keane, and Hugh Leonard 20: Anthony Roche: Brian Friel and Tom Murphy: Forms of Exile 21: José Lanters: Thomas Kilroy and the Idea of a Theatre Part VIII: Diversification 22: Marilynn Richtarik: Brian Friel and Field Day 23: Mark Phelan: From Troubles to Post-Conflict Theatre in Northern Ireland 24: Victor Merriman: 'As We Must': Growth and Diversification in Ireland's Theatre Culture 1977-2000. 25: Shelley Troupe: From Druid/Murphy To DruidMurphy Part IX: Performance 2 26: Chris Morash: Places of Performance 27: Ian R. Walsh: Directors and Designers since 1960 28: Nicholas Grene: Defining Performers and Performances 29: Julie Bates: Beckett at the Gate Part X: Contemporary Irish Theatre 30: Helen Heusner Lojek: Negotiating Differences in the Plays of Frank McGuinness 31: Emilie Pine: Drama Since the 1990s: Memory, Story, Exile 32: Clare Wallace: Irish Drama Since the 1990s: Disruptions 33: Melissa Sihra: Shadow and Substance: Women, Feminism, and Irish Theatre After 1980 34: Brian Singleton: Irish Theatre Devised Part XI: Ireland and the World 35: Rónán McDonald: Global Beckett 36: John P. Harrington: Irish Theatre and the United States 37: James Moran: Irish Theatre in Britain 38: Ond%rej Pilný: Irish Theatre in Europe 39: Patrick Lonergan: 'Feast and Celebration': The Theatre Festival and Modern Irish Theatre 40: Christina Hunt Mahony: Reinscribing the Classics, Ancient and Modern: The Sharp Diagonal of Adaptation Part XII: Critical Responses 41: Eamonn Jordan: Irish Theatre and Historiography