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Scholarship

21st century

  • Clare, David, “Gate Theatre Chronology (1983-2017): The Michael Colgan Directorate and the Appointment of Selina Cartmell”, David Clare, Des Lally, and Patrick Lonergan, eds, The Gate Theatre, Dublin: Inspiration and Craft (Dublin / Oxford: Carysfort Press / Peter Lang, 2018), 387-405.
  • Clare, David, “Goldsmith, the Gate, and the ‘Hibernicising’ of Anglo-Irish Plays”, David Clare, Des Lally, and Patrick Lonergan, eds, The Gate Theatre, Dublin: Inspiration and Craft (Dublin / Oxford: Carysfort Press / Peter Lang, 2018), 239-259.
  • Clare, David, Des Lally, and Patrick Lonergan, “Introduction”, David Clare, Des Lally, and Patrick Lonergan, eds, The Gate Theatre, Dublin: Inspiration and Craft (Dublin / Oxford: Carysfort Press / Peter Lang, 2018), 1-9.
  • Clare, David, “The Gate Theatre’s Beckett Festivals: Tensions between the Local and the Global”, Patricia McTighe and David Tucker, eds, Staging Beckett in Ireland and Northern Ireland (London: Bloomsbury Methuen, 2016), 39-50.
  • Clare, David, Des Lally, and Patrick Lonergan, eds, The Gate Theatre, Dublin: Inspiration and Craft (Dublin / Oxford: Carysfort Press / Peter Lang, 2018).
  • Clare, David, and Nicola Morris, “The Transnational Roots of Key Figures from the Early Years of the Gate Theatre, Dublin”, Ondřej Pilný, Ruud van den Beuken and Ian R. Walsh, eds, Cultural Convergence: The Dublin Gate Theatre, 1928-1960 (London: Palgrave Macmillan, 2021), 75-106.
  • Creedon, Emma, “Harold Pinter at the Gate Theatre: ‘A Kind of Homecoming’”, David Clare, Des Lally, and Patrick Lonergan, eds, The Gate Theatre, Dublin: Inspiration and Craft (Dublin / Oxford: Carysfort Press / Peter Lang, 2018), 329-340.
  • Dean, Joan FitzPatrick, All Dressed Up: Modern Irish Historical Pageantry (Syracuse, NY: Syracuse University Press, 2014).
  • Dean, Joan FitzPatrick, and Radvan Markus, “The Internationalist Dramaturgy of Hilton Edwards and Micheál mac Liammóir”, Ondřej Pilný, Ruud van den Beuken and Ian R. Walsh, eds, Cultural Convergence: The Dublin Gate Theatre, 1928-1960 (London: Palgrave Macmillan, 2021), 15-46.
  • Dean, Joan FitzPatrick, “Pageants, Parades, and Performance Culture”, John P. Harrington, ed., Modern and Contemporary Irish Drama (New York: Norton, 2009).
  • Dean, Joan FitzPatrick, “Rewriting the Past: Historical Pageantry in the Dublin Civic Weeks of 1927 and 1929”, New Hibernia Review 13.1 (2009), 20-41.
  • Dean, Joan FitzPatrick, Riot and Great Anger: Stage Censorship in Twentieth-Century Ireland (Madison, WI: University of Wisconsin Press, 2010).
  • Doody, Noreen, “‘Our only thorough playwright’: Oscar Wilde and the Gate Theatre”, David Clare, Des Lally, and Patrick Lonergan, eds, The Gate Theatre, Dublin: Inspiration and Craft (Dublin / Oxford: Carysfort Press / Peter Lang, 2018), 225-237.
  • Girel-Pietka, Virginie, “Denis Johnston at the Gate: a Groundbreaking yet Neglected Writer”, David Clare, Des Lally, and Patrick Lonergan, eds, The Gate Theatre, Dublin: Inspiration and Craft (Dublin / Oxford: Carysfort Press / Peter Lang, 2018), 111-130.
  • Girel-Pietka, Virginie, “‘Winds of Change’ in The Moon in the Yellow River and The Dreaming Dust by Denis Johnston: Staging Identity in a Crisis”, Journal of Franco-Irish Studies 3.1 (2013), 84-99.
  • Grogan, Erin, “‘We Belong to the World’: Christine Longford’s War Plays During Irish Neutrality”, Ondřej Pilný, Ruud van den Beuken and Ian R. Walsh, eds, Cultural Convergence: The Dublin Gate Theatre, 1928-1960 (London: Palgrave Macmillan, 2021), 217-35.
  • Hennessey, Katherine, Memorable Barbarities and National Myths: Ancient Greek Tragedy and Irish Epic in Modern Literature (PhD thesis: University of Notre Dame, 2008).
  • Ivory, Yvonne, “Prussian Discipline and Lesbian Vulnerability: Christa Winsloe’s Children in Uniform at the Gate”, Ondřej Pilný, Ruud van den Beuken and Ian R. Walsh, eds, Cultural Convergence: The Dublin Gate Theatre, 1928-1960 (London: Palgrave Macmillan, 2021), 193-216.
  • Jaros, Michael Perin, ‘To Have Lived is Not Enough for Them’: Performing Irish History in the Twentieth Century (PhD thesis: University of California, San Diego, CA: 2008).
  • Lally, Des, “The Fictionalisation of Hilton Edwards and Micheál macLíammóir in the Novel Stravaganza! (1963), by Paul Smith”, David Clare, Des Lally, and Patrick Lonergan, eds, The Gate Theatre, Dublin: Inspiration and Craft (Dublin / Oxford: Carysfort Press / Peter Lang, 2018), 193-207.
  • Lally, Des, David Clare, and Ruud van den Beuken, “Gate Theatre Chronology (1928-1982): The Edwards-macLíammóir and Longford Directorates”,  David Clare, Des Lally, and Patrick Lonergan, eds, The Gate Theatre, Dublin: Inspiration and Craft (Dublin / Oxford: Carysfort Press / Peter Lang, 2018), 339-385.
  • Lanters, José, “Desperationists and Ineffectuals: Mary Manning’s Gate Plays of the 1930s”, David Clare, Des Lally, and Patrick Lonergan, eds, The Gate Theatre, Dublin: Inspiration and Craft (Dublin / Oxford: Carysfort Press / Peter Lang, 2018), 97-110.
  • Lanters, José, “Queer Creatures, Queer Place: Otherness and Normativity in Irish Drama from Synge to Friel”, Donald E. Morse, ed., Irish Theatre in Transition: From the Late Nineteenth to the Early Twenty-First Century (Basingstoke and New York: Palgrave Macmillan, 2015), 54-67.
  • Leeney, Cathy, “Class, Land, and Irishness: Winners and Losers: Christine Longford (1900 - 1980)”, David Clare, Des Lally, and Patrick Lonergan, eds, The Gate Theatre, Dublin: Inspiration and Craft (Dublin / Oxford: Carysfort Press / Peter Lang, 2018), 161-179.
  • Leeney, Cathy, Irish Women Playwrights, 1900-1939: Gender & Violence on Stage (New York: Peter Lang, 2010).
  • Leeney, Cathy, “Not-So-Gay-Young-Things: Mary Manning’s Youth’s the Season–? as Staged in 1930s London”, Richard Cave and Ben Levitas, eds, Irish Theatre in England (Dublin: Carysfort Press, 2007), 157-68.
  • Lonergan, Patrick, Theatre and Globalization: Irish Drama in the Celtic Tiger Era (Basingstoke and New York: Palgrave Macmillan, 2009).
  • Lynch, Aoife, “The Gate, Endgame, and the Second Law of Thermodynamics”, David Clare, Des Lally, and Patrick Lonergan, eds, The Gate Theatre, Dublin: Inspiration and Craft (Dublin / Oxford: Carysfort Press / Peter Lang, 2018), 315-327.
  • Madden, Tom, The Making of an Artist: Creating the Irishman Micheál MacLiammóir (Dublin: The Liffey Press, 2015).
  • Malone, Irina Ruppo, “Ibsen and the Irish Free State: The Gate Theatre Company Productions of Peer Gynt”, Irish University Review 39.1 (2009), 42-64.
  • McIvor, Charlotte, and Siobhán O’Gorman, “Devising Ireland: Genealogies and Contestations”, Charlotte McIvor and Siobhán O’Gorman, eds, Devised Performance in Irish Theatre: Histories and Contemporary Practice (Dublin: Carysfort Press, 2015), 1-32.
  • McNamara, Audrey, “Longford Productions, Bernard Shaw, and the Irish Big House”, David Clare, Des Lally, and Patrick Lonergan, eds, The Gate Theatre, Dublin: Inspiration and Craft (Dublin / Oxford: Carysfort Press / Peter Lang, 2018), 181-192.
  • McTighe, Trish, “‘Be again, be again’: The Gate’s Beckett Country”, David Clare, Des Lally, and Patrick Lonergan, eds, The Gate Theatre, Dublin: Inspiration and Craft (Dublin / Oxford: Carysfort Press / Peter Lang, 2018), 299-313.
  • Meaney, Gerardine, Mary O’Dowd, and Bernadette Whelan, Reading the Irish Women: Studies in Cultural Encounter and Exchange, 1714-1960 (Liverpool: Liverpool University Press, 2013).
  • Morash, Christopher, “Denis Johnston’s Swift Project: ‘There Must Be Something Wrong with the Information’”, Canadian Journal of Irish Studies 33.2 (2007), 56-59.
  • Morash, Christopher and Shaun Richards, Mapping Irish Theatre: Theories of Space and Place (Cambridge: Cambridge University Press, 2013).
  • Moss, Rhiannon Sarah, Irish Modernism in an International Frame: Thomas MacGreevy, Seán O’Faoláin and Samuel Beckett in the 1930s (PhD thesis: Queen Mary, University of London, 2009).
  • Murray, Christopher, “‘Where Are They Now?’: Plays of Significance in the 1940s and 1950s”, Christopher Fitz-Simon, ed., Players and Painted Stage: Aspects of the Twentieth Century Theatre in Ireland (Dublin: New Island, 2004), 57-72.
  • Murray, Christopher, “Staging American Drama at the Gate Theatre, 1928-2016”, David Clare, Des Lally, and Patrick Lonergan, eds, The Gate Theatre, Dublin: Inspiration and Craft (Dublin / Oxford: Carysfort Press / Peter Lang, 2018), 261-281.
  • O’Dowd, Ciara, “Magic Windows: Ria Mooney at the Gate Theatre”, David Clare, Des Lally, and Patrick Lonergan, eds, The Gate Theatre, Dublin: Inspiration and Craft (Dublin / Oxford: Carysfort Press / Peter Lang, 2018), 131-145.
  • Ó Siadhail, Pádraig, “Gearóid Ó Lochlainn: The Gate Theatre’s Other Irish-Speaking Founder” Ondřej Pilný, Ruud van den Beuken and Ian R. Walsh, eds, Cultural Convergence: The Dublin Gate Theatre, 1928-1960 (London: Palgrave Macmillan, 2021), 47-73.
  • Pilný, Ondřej, “The Brothers Čapek at the Gate: R.U.R. and The Insect Play”, Ondřej Pilný, Ruud van den Beuken and Ian R. Walsh, eds, Cultural Convergence: The Dublin Gate Theatre, 1928-1960 (London: Palgrave Macmillan, 2021), 141-73.
  • Pilný, Ondřej, Ruud van den Beuken, and Ian R. Walsh, Cultural Convergence: The Dublin Gate Theatre, 1928-1960 (London: Palgrave Macmillan, 2021). OPEN ACCESS
  • Pine, Richard, “Micheál macLíammóir: The Erotic-Exotic and the Dublin Gate Theatre”, David Clare, Des Lally, and Patrick Lonergan, eds, The Gate Theatre, Dublin: Inspiration and Craft (Dublin / Oxford: Carysfort Press / Peter Lang, 2018), 63-96.
  • Price, Graham, “‘Staging an encounter’: Faith Healer, Bracha Ettinger, and the Art-Encounter-Event”, David Clare, Des Lally, and Patrick Lonergan, eds, The Gate Theatre, Dublin: Inspiration and Craft (Dublin / Oxford: Carysfort Press / Peter Lang, 2018), 283-297.
  • Purkis, Charlotte, “The Other Gates: Anglo-American Influences on and from Dublin”, Ondřej Pilný, Ruud van den Beuken and Ian R. Walsh, eds, Cultural Convergence: The Dublin Gate Theatre, 1928-1960 (London: Palgrave Macmillan, 2021), 1075-140.
  • Reynolds, Paige, “The Avant-Garde Doyenne: Mary Manning and the Poets’ Theatre”, Canadian Journal of Irish Studies 39.2 (2017), 109-133.
  • Reynolds, Paige, “Direction and Design to 1960", Nicholas Grene and Christopher Morash, eds, Oxford Handbook of Modern Irish Theatre (Oxford: Oxford University Press, 2016) 201-216.
  • Reynolds, Paige, “Theatrical Ireland: New Routes from the Abbey Theatre to the Gate Theatre”, Claire Connolly and Marjorie Howes, series eds,Irish Literature in Transition, vol. 4 (1880-1940) (Cambridge: Cambridge University Press), forthcoming.
  • Roche, Anthony, “Brian Friel at the Gate: Lovers in Dublin and New York”, David Clare, Des Lally, and Patrick Lonergan, eds, The Gate Theatre, Dublin: Inspiration and Craft (Dublin / Oxford: Carysfort Press / Peter Lang, 2018), 209-223.
  • Sisson, Elaine, “Dublin Civic Week and the Materialisation of History”, Lisa Godson and Joanna Brück, eds, Making 1916: Material and Visual Culture of the Easter Rising (Liverpool: Liverpool University Press, 2015), 138-45.
  • Sisson, Elaine, “Kismet: Hollywood, Orientalism and the Design Language of Padraic Colum’s Mogu of the Desert”, Ondřej Pilný, Ruud van den Beuken and Ian R. Walsh, eds, Cultural Convergence: The Dublin Gate Theatre, 1928-1960 (London: Palgrave Macmillan, 2021), 175-92.
  • Sisson, Elaine, “‘A Note on What Happened’: Experimental Influences on the Irish Stage, 1919-1929”, Kritika Kultura 15 (2010), 132-48.
  • Sisson, Elaine, “Experiment and the Free State: Mrs Cogley’s Cabaret and the Founding of the Gate Theatre, 1924-1930”, David Clare, Des Lally, and Patrick Lonergan, eds, The Gate Theatre, Dublin: Inspiration and Craft (Dublin / Oxford: Carysfort Press / Peter Lang, 2018), 11-27
  • Stafford, Seán, “Taibhdhearc na Gaillimhe: Galway’s Gaelic Theatre”, Journal of the Galway Archaeological and Historical Society 52 (2002), 183-214.
  • Van den Beuken, Ruud, “‘Ancient Ireland comes to Rathmines’: Memory, Identity, and Diversity in Micheál MacLiammóir’s Where Stars Walk (1940)”, David Clare, Des Lally, and Patrick Lonergan, eds, The Gate Theatre, Dublin: Inspiration and Craft (Dublin / Oxford: Carysfort Press / Peter Lang, 2018), 47-61.
  • Van den Beuken, Ruud, Avant-Garde Nationalism at the Dublin Gate Theatre, 1928-1940 (Syracuse, NY: Syracuse University Press, 2021).
  • Van den Beuken, Ruud, “‘A lament for the Fianna in a time when Ireland shall be changed’: Prospective/Prescriptive Memory and (Post-)Revolutionary Discourse in Mythological Gate Plays”, Études irlandaises 43.2 (2018): 197-208.
  • Van den Beuken, Ruud, “MacLiammóir’s Minstrel and Johnston’s Morality: Cultural Memories of the Easter Rising at the Dublin Gate Theatre”, Irish Studies Review 23.1 (2015), 1-14.
  • Van den Beuken, Ruud, “Remembering the Drapier and King Dan: The Sectarian Legacies of Swift and O’Connell in Edward Longford’s Yahoo (1933) and Ascendancy (1935)’, Irish Studies and the Dynamics of Memory: Transitions and Transformations (Marguérite Corporaal, Christopher Cusack and Ruud van den Beuken, eds; Oxford: Peter Lang, 2017), 19-39.
  • Van den Beuken, Ruud, “‘Three cheers for the Descendancy!’: Middle-Class Dreams and (Dis)illusions in Mary Manning’s Happy Family (1934)”, Negotiating Ireland’s Theatre Archive: Theory, Practice, Performance (Barry Houlihan, ed.; Oxford: Peter Lang, forthcoming in 2018).
  • Walsh, Ian R. “Hilton Edwards as Director: Shade of Modernity”, David Clare, Des Lally, and Patrick Lonergan, eds, The Gate Theatre, Dublin: Inspiration and Craft (Dublin / Oxford: Carysfort Press / Peter Lang, 2018), 29-45.
  • Whelan, Feargal, “Lord Longford’s Yahoo: An Alternative National Myth from an Alternative National Theatre”, David Clare, Des Lally, and Patrick Lonergan, eds, The Gate Theatre, Dublin: Inspiration and Craft (Dublin / Oxford: Carysfort Press / Peter Lang, 2018), 147-159.

20th century

  • Cole, Alan, “The Gate Influence on Dublin Theatre”, The Dublin Magazine 28.3 (1953), 6-14.
  • Cowell, John, No Profit But the Name: The Longfords and the Gate Theatre (Dublin: O’Brien, 1988).
  • Ferrar, Harold, Denis Johnston’s Irish Theatre (Dublin: Dolmen Press, 1973).
  • Fitz-Simon, Christopher, The Boys: A Biography of Micheál MacLíammóir and Hilton Edwards (London: Nick Hern, 1994).
  • O’Brien, John, “Expressionism and the Formative Years: Insights from the Early Diaries of Denis Johnston”, The Canadian Journal of Irish Studies 15.1 (1989): 34-57.
  • Ó hAodha, Micheál, The Importance of Being Micheál: A Portrait of Mac Liammóir (Dingle: Brandon, 1990).
  • Pine, Richard, All for Hecuba: An Exhibitionto Mark the Golden Jubilee of the Edwards-mac Liammóir Partnership and of the Gate Theatre, 1928-1978, exhibition catalogue (Dublin: Hugh Lane Municipal Gallery of Modern Art, 1978).
  • Pine, Richard (with Richard Allen Cave), The Dublin Gate Theatre 1928-1978 (Teaneck, NJ: Chadwych-Healey, 1984).
  • Pine, Richard, “The Gate – Home and Away”, Nicholas Grene and Christopher Morash, eds, Irish Theatre on Tour (Dublin: Carysfort Press, 2005), 161-77.
  • St Peter, Christine, “Denis Johnston, the Abbey and the Spirit of the Age”, Irish University Review 17.2 (1987), 187-206.
  • St Peter, Christine, “The Old Lady: In Principio”, Joseph Ronsley, ed., Denis Johnston: A Retrospective (Gerrards Cross: Colin Smythe, 1981), 10-23.
  • Walshe, Éibhear, “Sodom and Begorrah, or Game to the Last: Inventing Michael Mac Liammóir”, Éibhear Walshe, ed., Sex, Nation and Dissent in Irish Writing (1997), 150-69.
  • Walshe, Éibhear, Oscar’s Shadow: Wilde, Homosexuality and Modern Ireland (Cork: Cork University Press, 2011).