Lisa Fitzpatrick – författare

At her heaviest, Lisa Fitzpatrick was a size 20, and weighed 15 stone. She was unhappy, but hid her body and discomfort behind layers of clothes, carefully styled hair, impeccable make up and distracting shoes. However, after the birth of her first child, she realised that enough was enough - years of making unhealthy choices had taken their toll, and she was ready to change. Diet SOS chronicles Lisa''s experiences of weight loss with refreshing honesty and clarity. She doesn''t promise a quick fix or an easy solution. Instead, she asks her readers to stop looking for excuses and start taking responsibility for their own bodies. With advice on foods to avoid, delicious recipes that helped with her own weight loss and an emphasis on realistic lifestyle change, positive thinking and listening to your body, Lisa shows that, if she can do it, you, too, can have the body you want.

This anthology provides access to neglected theatrical work and broadens our understanding of the history of Irish theatre as well as the vital role of women within it. The introduction places these plays in dialogue with one another as well as within the national context of the repealing of women’s rights during the Irish Free State years.These are plays by authors including Mary Manning, Dorothy Macardle, Mary Devenport O’Neill, Kate O'Brien and Margaret O’Leary, which are difficult to access, but which are increasingly visible in Irish theatre scholarship. This unique collection places the playwrights in dialogue to form a tradition of women’s theatrical work that challenges the male-dominated literary canon of Irish theatre, as well as enriching the body of women’s theatrical work in the Anglophone world during the interwar years.Includes the plays:Kate O’Brien – Distinguished Villa (1926)Margaret O’Leary – The Woman (1929)Mary Manning – Youth’s the Season (1931)Dorothy Macardle – Witch’s Brew (1931)Mary Devenport O’Neill – Bluebeard (1933)

This anthology provides access to neglected theatrical work and broadens our understanding of the history of Irish theatre as well as the vital role of women within it. The introduction places these plays in dialogue with one another as well as within the national context of the repealing of women’s rights during the Irish Free State years.These are plays by authors including Mary Manning, Dorothy Macardle, Mary Devenport O’Neill, Kate O'Brien and Margaret O’Leary, which are difficult to access, but which are increasingly visible in Irish theatre scholarship. This unique collection places the playwrights in dialogue to form a tradition of women’s theatrical work that challenges the male-dominated literary canon of Irish theatre, as well as enriching the body of women’s theatrical work in the Anglophone world during the interwar years.Includes the plays:Kate O’Brien – Distinguished Villa (1926)Margaret O’Leary – The Woman (1929)Mary Manning – Youth’s the Season (1931)Dorothy Macardle – Witch’s Brew (1931)Mary Devenport O’Neill – Bluebeard (1933)

This anthology provides access to neglected theatrical work and broadens our understanding of the history of Irish theatre as well as the vital role of women within it. The introduction places these plays in dialogue with one another as well as within the national context of the repealing of women''s rights during the Irish Free State years.These are plays by authors including Mary Manning, Dorothy Macardle, Mary Devenport O''Neill, Kate O''Brien and Margaret O''Leary, which are difficult to access, but which are increasingly visible in Irish theatre scholarship. This unique collection places the playwrights in dialogue to form a tradition of women''s theatrical work that challenges the male-dominated literary canon of Irish theatre, as well as enriching the body of women''s theatrical work in the Anglophone world during the interwar years.Includes the plays:Kate O''Brien – Distinguished Villa (1926)Margaret O''Leary – The Woman (1929)Mary Manning – Youth''s the Season (1931)Dorothy Macardle – Witch''s Brew (1931)Mary Devenport O''Neill – Bluebeard (1933)

This anthology provides access to neglected theatrical work and broadens our understanding of the history of Irish theatre as well as the vital role of women within it. The introduction places these plays in dialogue with one another as well as within the national context of the repealing of women''s rights during the Irish Free State years.These are plays by authors including Mary Manning, Dorothy Macardle, Mary Devenport O''Neill, Kate O''Brien and Margaret O''Leary, which are difficult to access, but which are increasingly visible in Irish theatre scholarship. This unique collection places the playwrights in dialogue to form a tradition of women''s theatrical work that challenges the male-dominated literary canon of Irish theatre, as well as enriching the body of women''s theatrical work in the Anglophone world during the interwar years.Includes the plays:Kate O''Brien – Distinguished Villa (1926)Margaret O''Leary – The Woman (1929)Mary Manning – Youth''s the Season (1931)Dorothy Macardle – Witch''s Brew (1931)Mary Devenport O''Neill – Bluebeard (1933)

Men in Black: The Official Visual Companion to the Films is the first book to cover all four films, including Men in Black International. Men in Black: The Official Visual Companion to the Films is the ultimate retrospective to the universally beloved film franchise. Unveiling the secrets behind the suits, this book contains concept art, sketches, storyboards, costume designs, makeup tests and more. With exclusive commentary from key members of the cast and crew, this extraordinary collection of art will take readers on a journey out of this world. This book tells the whole story for each film, from sketch to screen, and delves into the design and creation of the aliens, vehicles, weaponry and the agents defending the universe as only the Men in Black can do.This must-have book details the script development and production process of all four films, as well as the impact and influence of those films in popular culture, as well as the makeup, costuming, animatronics, music, and much more. Men in Black: The Official Visual Companion to the Films is the only book you'll ever need or want on the subject.

Over the last twenty years Deirdre Kinahan has emerged as a significant and original female voice in Irish theatre, with her plays produced in Ireland, the UK, the USA and across mainland Europe. Her work explores issues of personal and communal identity, bringing forward the difficulties that arise for individuals when accepted narratives of identity diverge from contemporary experience. In this collection of ten original essays, and an interview with the playwright, the authors address the ways in which Kinahan’s plays interrogate and seek to renegotiate value systems of family, class, ethnicity, age and gender in the 21st century neoliberal, secular state, with an emphasis on experimental forms and the renewal of the genre of the family play. Theoretical frameworks rely on feminism, intersectionality, genre studies, and age studies, among other approaches, by authors from Ireland, the UK, Hungary, the USA, Nigeria, Canada and Taiwan.

This book investigates the representation of rape in British and Irish theatre since the second wave of the Women’s Movement. Mainly focusing on the period from the 1990s to the present, it identifies key feminist debates on rape and gender, and introduces a set of ideas about the function of rape as a form of embodied, gendered violence to the analysis of dramaturgical and performance strategies used in a range of important and/or controversial works. The chapters explore the dramatic representation of consent; feminist performance strategies that interrogate common attitudes to rape and rape survivors; the use of rape as an allegory for political oppression; the relationships of vulnerability, eroticism and affect in the understanding and representation of sexual violence; and recent work that engages with anti-rape activism to present women’s personal experiences on stage.

This book investigates the representation of rape in British and Irish theatre since the second wave of the Women’s Movement. Mainly focusing on the period from the 1990s to the present, it identifies key feminist debates on rape and gender, and introduces a set of ideas about the function of rape as a form of embodied, gendered violence to the analysis of dramaturgical and performance strategies used in a range of important and/or controversial works. The chapters explore the dramatic representation of consent; feminist performance strategies that interrogate common attitudes to rape and rape survivors; the use of rape as an allegory for political oppression; the relationships of vulnerability, eroticism and affect in the understanding and representation of sexual violence; and recent work that engages with anti-rape activism to present women’s personal experiences on stage.

This book investigates the representation of rape in British and Irish theatre since the second wave of the Women’s Movement. Mainly focusing on the period from the 1990s to the present, it identifies key feminist debates on rape and gender, and introduces a set of ideas about the function of rape as a form of embodied, gendered violence to the analysis of dramaturgical and performance strategies used in a range of important and/or controversial works. The chapters explore the dramatic representation of consent; feminist performance strategies that interrogate common attitudes to rape and rape survivors; the use of rape as an allegory for political oppression; the relationships of vulnerability, eroticism and affect in the understanding and representation of sexual violence; and recent work that engages with anti-rape activism to present women’s personal experiences on stage.