n. 58 (2010)

Publicado: 2010-11-17

Início

Início/Initial

1-10
- PDF

Introdução

Contemporary Irish theatre: a dynamic collection of critical voices

Beatriz Kopschitz Xavier Bastos, José Roberto O'Shea

11-22
- PDF

Artigos

Universal or provincial?: Early reception of Brian Friel's Philadelphia, Here I Come!

Peter James Harris

21-51
- PDF
The old lady says "no": the language of denial in Brian Friel's The Loves of Cass McGuire

Giovanna Tallone

53-76
- PDF
Doomed volunteers: two great political plays from Ireland

Heinz Kosok

77-98
- PDF
Friel and his "sisters"

Nicholas Grene

99-111
- PDF
Landscapes of the mind: postdramatic features in Brian Friel's Molly Sweeney

Anna Stegh Camati

113-133
- PDF
Brian Friel: the master playwright

Martine Pelletier

135-156
- PDF
"A Sceptic in a Credulous World": re-evaluating the work of Stewart Parker on the twentieth anniversary of his death

Clare Wallace

157-178
- PDF
Sam Thompson, Stewart Parker, and the lineage of northern Irish drama

Marilynn Richtarik

179-189
- PDF
(Un)settlement: political parody and the Northern Irish peace process

Mark Phelan

191-215
- PDF
"Poor Banished Children of Eve": Tom Murphy and the syntax of history

Paul Murphy

217-237
- PDF
A constituição, a família, a tradição e a deconstituição da família tradicional em The Beauty Queen of Leenane

Magda Velloso Fernandez de Tolentino, Raimundo Expedito Santos Sousa

239-266
- PDF
Impossible promise: the child and the androgyne in Thomas Kilroy's The Secret Fall of Constance Wilde and My Scandalous Life

José Lanters

267-288
- PDF
Violence and hope in Ariel, by Marina Carr

Zoraide Rodrigues Carrasco de Mesquita

289-308
- PDF
From mass media to new media in contemporary Irish drama: Billy Roche's On Such As We and Paul Meade's Skin Deep

Patrick Lonergan

309-332
- PDF
"Stuff From Back Home": Enda Walsh's The Walworth Farce

Eamonn Jordan

333-356
- PDF
Conor McPherson's The Seafarer: tinkering with tradition

Roberto Ferreira da Rocha

357-380
- PDF
Conor McPherson's view of Endgame by Samuel Beckett

Maria Rita Teixeira Silva Köster

381-396
- PDF
"Estranging Exteriority": translation and adaptation in Irish drama

Maureen Murphy

397-411
- PDF
Different appropriations of greek tragedy in contemporary drama: Irish and otherwise

Munira Hamud Mutran

413-438
- PDF
Charabanc, cultural capital and the men of recognised credit

Brenda Winter

439-458
- PDF
Druid theatre's economics: the first decade

Shelley Troupe

459-478
- PDF
A brief history of Cia Ludens and its productions of Irish plays in Brazil

Domingos Nunez

479-505
- PDF

n. 58 (2010)

Início

Início/Initial

Introdução

Contemporary Irish theatre: a dynamic collection of critical voices

Artigos

Universal or provincial?: Early reception of Brian Friel's Philadelphia, Here I Come!

The old lady says "no": the language of denial in Brian Friel's The Loves of Cass McGuire

Doomed volunteers: two great political plays from Ireland

Friel and his "sisters"

Landscapes of the mind: postdramatic features in Brian Friel's Molly Sweeney

Brian Friel: the master playwright

"A Sceptic in a Credulous World": re-evaluating the work of Stewart Parker on the twentieth anniversary of his death

Sam Thompson, Stewart Parker, and the lineage of northern Irish drama

(Un)settlement: political parody and the Northern Irish peace process

"Poor Banished Children of Eve": Tom Murphy and the syntax of history

A constituição, a família, a tradição e a deconstituição da família tradicional em The Beauty Queen of Leenane

Impossible promise: the child and the androgyne in Thomas Kilroy's The Secret Fall of Constance Wilde and My Scandalous Life

Violence and hope in Ariel, by Marina Carr

From mass media to new media in contemporary Irish drama: Billy Roche's On Such As We and Paul Meade's Skin Deep

"Stuff From Back Home": Enda Walsh's The Walworth Farce

Conor McPherson's The Seafarer: tinkering with tradition

Conor McPherson's view of Endgame by Samuel Beckett

"Estranging Exteriority": translation and adaptation in Irish drama

Different appropriations of greek tragedy in contemporary drama: Irish and otherwise

Charabanc, cultural capital and the men of recognised credit

Druid theatre's economics: the first decade

A brief history of Cia Ludens and its productions of Irish plays in Brazil

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