Patrick Lonergan is Professor of Drama and Theatre Studies at National University of Ireland, and a leading authority on Irish Drama. His other publications include Theatre and Globalization (2009), The Theatre and Films of Martin McDonagh (Bloomsbury Methuen Drama, 2012), and Theatre & Social Media (2015).

• AcknowledgementsIntroduction1. The 1950s – Internationalising Irish Drama: the early plays of Samuel Beckett, the beginning of the Dublin Theatre Festival, and Brendan Behan in London2. The 1960s – Shifting Form: Philadelphia, Here I Come! by Friel, Famine by Tom Murphy, and An Triail by Mairead Ni Ghrada)3. 1970s – Politics and Crisis: the establishment of Druid Theatre, Stewart Parker’s Spokesong, and Tom Murphy’s Sanctuary Lamp4. 1980s – Contesting Space: the establishment of Field Day, Charabanc’s Lay Up Your Ends and McGuinness’s Observe the Sons of Ulster5. 1990s – Renewals: the Gate Theatre’s Beckett Festivals, Marina Carr’s Midlands plays, and Friel’s Faith Healer6. 2000s - The End of the Beginning of the End: Enda Walsh’s The Walworth Farce, Synge and Irish interculturalism, experimental practice in Ireland after the crash of 2008, and theatre in Northern Ireland after the Good Friday Agreement7. Critical and Performance Perspectives:Thomas Kilroy on Irish theatre in the 1950s and 1960s Mary Elizabeth Burke Kennedy on Irish theatre in the 1970sLouise Lowe on contemporary experimental theatre practiceConclusionChronologyNotesFurther readingIndex

Patrick Lonergan is Professor of Drama and Theatre Studies at National University of Ireland, and a leading authority on Irish Drama. His other publications include Theatre and Globalization (2009), The Theatre and Films of Martin McDonagh (Bloomsbury Methuen Drama, 2012), and Theatre & Social Media (2015).

• AcknowledgementsIntroduction1. The 1950s – Internationalising Irish Drama: the early plays of Samuel Beckett, the beginning of the Dublin Theatre Festival, and Brendan Behan in London2. The 1960s – Shifting Form: Philadelphia, Here I Come! by Friel, Famine by Tom Murphy, and An Triail by Mairead Ni Ghrada)3. 1970s – Politics and Crisis: the establishment of Druid Theatre, Stewart Parker’s Spokesong, and Tom Murphy’s Sanctuary Lamp4. 1980s – Contesting Space: the establishment of Field Day, Charabanc’s Lay Up Your Ends and McGuinness’s Observe the Sons of Ulster5. 1990s – Renewals: the Gate Theatre’s Beckett Festivals, Marina Carr’s Midlands plays, and Friel’s Faith Healer6. 2000s - The End of the Beginning of the End: Enda Walsh’s The Walworth Farce, Synge and Irish interculturalism, experimental practice in Ireland after the crash of 2008, and theatre in Northern Ireland after the Good Friday Agreement7. Critical and Performance Perspectives:Thomas Kilroy on Irish theatre in the 1950s and 1960s Mary Elizabeth Burke Kennedy on Irish theatre in the 1970sLouise Lowe on contemporary experimental theatre practiceConclusionChronologyNotesFurther readingIndex

Patrick Lonergan is Professor of Drama and Theatre Studies at National University of Ireland, and a leading authority on Irish Drama. His other publications include Theatre and Globalization (2009), The Theatre and Films of Martin McDonagh (Bloomsbury Methuen Drama, 2012), and Theatre & Social Media (2015).

• AcknowledgementsIntroduction1. The 1950s – Internationalising Irish Drama: the early plays of Samuel Beckett, the beginning of the Dublin Theatre Festival, and Brendan Behan in London2. The 1960s – Shifting Form: Philadelphia, Here I Come! by Friel, Famine by Tom Murphy, and An Triail by Mairead Ni Ghrada)3. 1970s – Politics and Crisis: the establishment of Druid Theatre, Stewart Parker’s Spokesong, and Tom Murphy’s Sanctuary Lamp4. 1980s – Contesting Space: the establishment of Field Day, Charabanc’s Lay Up Your Ends and McGuinness’s Observe the Sons of Ulster5. 1990s – Renewals: the Gate Theatre’s Beckett Festivals, Marina Carr’s Midlands plays, and Friel’s Faith Healer6. 2000s - The End of the Beginning of the End: Enda Walsh’s The Walworth Farce, Synge and Irish interculturalism, experimental practice in Ireland after the crash of 2008, and theatre in Northern Ireland after the Good Friday Agreement7. Critical and Performance Perspectives:Thomas Kilroy on Irish theatre in the 1950s and 1960s Mary Elizabeth Burke Kennedy on Irish theatre in the 1970sLouise Lowe on contemporary experimental theatre practiceConclusionChronologyNotesFurther readingIndex