Fintan Walsh is Senior Lecturer in Theatre and Performance Studies in the Department of English and Humanities at Birkbeck, University of London, UK, where he is Co-Director of the Centre for Contemporary Theatre. Recent publications include Theatre & Therapy (2013), Male Trouble: Masculinity and the Performance of Crisis (2010), and the edited collection 'That Was Us': Contemporary Irish Theatre and Performance (2013). He is Associate Editor of Theatre Research International.

"Its scope is challenging and - in the best sense of the word - thoughtprovoking the depth of its theoretical framework is highly interdisciplinary and refreshing and the performances it looks at approach the topic of the book from many varied points of view. One of the strong fortes of the book is the presentation of the argument: the performances always take centre stage and are presented and discussed in very satisfactory detail and depth. ... An enjoyable and stirring read." (Michael Heinze, Theater Forschung, theaterforschung.de, May, 2016)

• 1. Introduction: Queer Performance and Contemporary Ireland 2. Activism, Drag and Solo Performance3. Reparative Therapies and Political Performers4. Transforming Shame and Testimonial Performance5. Intergenerational Moves and Documentary Theatre6. Sex, Class and the City: Site-Specific Roots and Routes7. Vertiginous Loss, Love and Belonging on the National StageAfterword: Reeling-FeelingBibliographyIndex

Fintan Walsh is Senior Lecturer in Theatre and Performance Studies in the Department of English and Humanities at Birkbeck, University of London, UK, where he is Co-Director of the Centre for Contemporary Theatre. Recent publications include Theatre & Therapy (2013), Male Trouble: Masculinity and the Performance of Crisis (2010), and the edited collection 'That Was Us': Contemporary Irish Theatre and Performance (2013). He is Associate Editor of Theatre Research International.

"Its scope is challenging and - in the best sense of the word - thoughtprovoking the depth of its theoretical framework is highly interdisciplinary and refreshing and the performances it looks at approach the topic of the book from many varied points of view. One of the strong fortes of the book is the presentation of the argument: the performances always take centre stage and are presented and discussed in very satisfactory detail and depth. ... An enjoyable and stirring read." (Michael Heinze, Theater Forschung, theaterforschung.de, May, 2016)

• 1. Introduction: Queer Performance and Contemporary Ireland 2. Activism, Drag and Solo Performance3. Reparative Therapies and Political Performers4. Transforming Shame and Testimonial Performance5. Intergenerational Moves and Documentary Theatre6. Sex, Class and the City: Site-Specific Roots and Routes7. Vertiginous Loss, Love and Belonging on the National StageAfterword: Reeling-FeelingBibliographyIndex

Fintan Walsh is Senior Lecturer in Theatre and Performance Studies in the Department of English and Humanities at Birkbeck, University of London, UK, where he is Co-Director of the Centre for Contemporary Theatre. Recent publications include Theatre & Therapy (2013), Male Trouble: Masculinity and the Performance of Crisis (2010), and the edited collection 'That Was Us': Contemporary Irish Theatre and Performance (2013). He is Associate Editor of Theatre Research International.

"Its scope is challenging and - in the best sense of the word - thoughtprovoking the depth of its theoretical framework is highly interdisciplinary and refreshing and the performances it looks at approach the topic of the book from many varied points of view. One of the strong fortes of the book is the presentation of the argument: the performances always take centre stage and are presented and discussed in very satisfactory detail and depth. ... An enjoyable and stirring read." (Michael Heinze, Theater Forschung, theaterforschung.de, May, 2016)

• 1. Introduction: Queer Performance and Contemporary Ireland 2. Activism, Drag and Solo Performance3. Reparative Therapies and Political Performers4. Transforming Shame and Testimonial Performance5. Intergenerational Moves and Documentary Theatre6. Sex, Class and the City: Site-Specific Roots and Routes7. Vertiginous Loss, Love and Belonging on the National StageAfterword: Reeling-FeelingBibliographyIndex