Shonagh Hill – författare

The rich legacy of women's contributions to Irish theatre is traditionally viewed through a male-dominated literary canon and mythmaking, thus arguably silencing their work. In this timely book, Shonagh Hill proposes a feminist genealogy which brings new perspectives to women's mythmaking across the twentieth and twenty-first centuries. The performances considered include the tableaux vivants performed by the Inghinidhe na hÉireann (Daughters of Ireland), plays written by Alice Milligan, Maud Gonne, Lady Augusta Gregory, Eva Gore-Booth, Mary Devenport O'Neill, Mary Elizabeth Burke-Kennedy, Paula Meehan, Edna O'Brien and Marina Carr, as well as plays translated, adapted and performed by Olwen Fouéré. The theatrical work discussed resists the occlusion of women's cultural engagement that results from confinement to idealised myths of femininity. This is realised through embodied mythmaking: a process which exposes how bodies bear the consequences of these myths, while refusing to accept the female body as passive bearer of inscription through the assertion of a creative female corporeality.

The rich legacy of women''s contributions to Irish theatre is traditionally viewed through a male-dominated literary canon and mythmaking, thus arguably silencing their work. In this timely book, Shonagh Hill proposes a feminist genealogy which brings new perspectives to women''s mythmaking across the twentieth and twenty-first centuries. The performances considered include the tableaux vivants performed by the Inghinidhe na hÉireann (Daughters of Ireland), plays written by Alice Milligan, Maud Gonne, Lady Augusta Gregory, Eva Gore-Booth, Mary Devenport O''Neill, Mary Elizabeth Burke-Kennedy, Paula Meehan, Edna O''Brien and Marina Carr, as well as plays translated, adapted and performed by Olwen Fouéré. The theatrical work discussed resists the occlusion of women''s cultural engagement that results from confinement to idealised myths of femininity. This is realised through embodied mythmaking: a process which exposes how bodies bear the consequences of these myths, while refusing to accept the female body as passive bearer of inscription through the assertion of a creative female corporeality.

The rich legacy of women''s contributions to Irish theatre is traditionally viewed through a male-dominated literary canon and mythmaking, thus arguably silencing their work. In this timely book, Shonagh Hill proposes a feminist genealogy which brings new perspectives to women''s mythmaking across the twentieth and twenty-first centuries. The performances considered include the tableaux vivants performed by the Inghinidhe na hÉireann (Daughters of Ireland), plays written by Alice Milligan, Maud Gonne, Lady Augusta Gregory, Eva Gore-Booth, Mary Devenport O''Neill, Mary Elizabeth Burke-Kennedy, Paula Meehan, Edna O''Brien and Marina Carr, as well as plays translated, adapted and performed by Olwen Fouéré. The theatrical work discussed resists the occlusion of women''s cultural engagement that results from confinement to idealised myths of femininity. This is realised through embodied mythmaking: a process which exposes how bodies bear the consequences of these myths, while refusing to accept the female body as passive bearer of inscription through the assertion of a creative female corporeality.

The rich legacy of women's contributions to Irish theatre is traditionally viewed through a male-dominated literary canon and mythmaking, thus arguably silencing their work. In this timely book, Shonagh Hill proposes a feminist genealogy which brings new perspectives to women's mythmaking across the twentieth and twenty-first centuries. The performances considered include the tableaux vivants performed by the Inghinidhe na hÉireann (Daughters of Ireland), plays written by Alice Milligan, Maud Gonne, Lady Augusta Gregory, Eva Gore-Booth, Mary Devenport O'Neill, Mary Elizabeth Burke-Kennedy, Paula Meehan, Edna O'Brien and Marina Carr, as well as plays translated, adapted and performed by Olwen Fouéré. The theatrical work discussed resists the occlusion of women's cultural engagement that results from confinement to idealised myths of femininity. This is realised through embodied mythmaking: a process which exposes how bodies bear the consequences of these myths, while refusing to accept the female body as passive bearer of inscription through the assertion of a creative female corporeality.

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)