The Gate Theatre Network organises three meetings. Every meeting has its own theme and deliverables.
The third meeting: Cosmopolitan theatres as conduits of emancipation and cultural exchange
GTRN conference, NUI Galway, Ireland, 20-21 January 2021:
The conference was originally scheduled for June 2020 but has been postponed to January 2021 as a result of the COVID19 pandemic. We are now issuing a revised call for papers, asking for participants to consider attending the conference in Galway in person, or to participate online (using prepared videos and/or live videoconferencing).
The GTRN aims to contextualise the history and impact of Ireland’s Gate Theatre by exploring how theatre speaks differently to audiences within and across diverse cultures in contemporary Europe. Upon its foundation, the Gate Theatre saw itself as Ireland’s second national theatre: it fulfilled its national remit by staging European plays, by touring Irish work to mainland Europe, and by integrating European performance practices into the Irish tradition. It, therefore, can be seen as an exemplary case study of how theatre can speak to both the national and the international, to unity and diversity, to the mainstream and the marginal, especially in European contexts.
This conference invites papers that will either directly address the history of the Gate or which will focus on other theatres in order to draw out potential comparative aspects from across Europe, perhaps with a view to developing collaborative research projects in the future.
Topics to be addressed during the 2021 conference in Galway include, but are not restricted to, the following examples:
- How innovations in stagecraft (stage design, costumes, lighting, directing, acting) travel between countries, changing and refining national theatre practices.
- Reception of touring productions
- Adaptations and translations of canonical European plays in different countries
- European theatres that, like the Gate, have united national and transnational concerns.
- European theatres that, like the Gate, have united national and transnational audiences.
- European or global theatres that, like the Gate, have given space and voice to marginal identities.
- Migration of theatre artists and theatre practices in Europe.
- Languages of the stage and activism
- Minority languages and the theatre
Please find the call for papers for this conference here (pdf, 112 kB).
The second meeting: The Gate’s construction of personal and collective identities
How did the Gate seek to challenge orthodoxy and liberate the construction of personal and collective identities?
The addressed topics during the expert meeting (with a writing workshop for an H2020 application) in Prague on 14-15 June 2019:
- the overt homosexuality of the Gate’s founders; their creation of a Dublin gay scene;
- the Gate’s promotion of the work of women writers, editors and directors;
- collaborative dramatic projects that contested traditional identities (e.g. unconventional pageants);
- comparisons with the emancipatory politics of other European theatres.
The first meeting: The Gate as an alternative national theatre
In what ways does the Gate constitute an alternative national theatre?
Topics addressed during the expert meeting in Nijmegen on 6-7 September 2018:
- the Gate’s promotion of original Irish playwrights, including women writers such as Mary Manning, Christine Longford, and Maura Laverty;
- its directors’ paradoxical notions of patriotism and cosmopolitanism;
- its associates’ involvement in Irish party politics;
- its support of Gaelic drama;
- comparisons with other European nationalist or regionalist theatres.