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In 1928, Hilton Edwards and Micheál mac Liammóir founded the Dublin Gate Theatre, which quickly became renowned for producing stylistically and dramaturgically innovative plays in a uniquely avant-garde setting. While the Gate’s lasting importance to the history of Irish theater is generally attributed to its introduction of experimental foreign drama to Ireland, Van den Beuken shines a light on the Gate’s productions of several new Irish playwrights, such as Denis Johnston, Mary Manning, David Sears, Robert Collis, and Edward and Christine Longford. Having grown up during an era of political turmoil and bloodshed that led to the creation of an independent yet in many ways bitterly divided Ireland, these dramatists chose to align themselves with an avant-garde theater that explicitly sought to establish Dublin as a modern European capital. In examining an extensive corpus of archival resources, Van den Beuken reveals how the Gate Theatre became a site of avant-
For lovers of the stage, the sight has been dismal. The past year brought unprecedented hardship to the world of theatre as Covid-19 forced playhouses to close and cancel one production after another, with dire consequences for all involved.
Itâs no surprise, however, that theatremakers have bounced back with wonderful ingenuity, creating socially-distanced productions and livestreaming events, even as financial strictures only increased. The Dublin Theatre Festival, for example, went to great lengths to reinvent itself when the second wave of the pandemic hit and managed to salvage part of its line-up in inventive ways. They have since set up a Futures programme that enables artists to rethink the precarious âperforming arts ecologyâ, with 13 productions due in the spring of 2021.
Avant-Garde Nationalism at the Dublin Gate Theatre
by Ruud van den Beuken
In 1928, Hilton Edwards and Micheál mac Liammóir founded the Dublin Gate Theatre, which quickly became renowned for producing stylistically and dramaturgically innovative plays in a uniquely avant-garde setting. While the Gate’s lasting importance to the history of Irish theater is generally attributed to its introduction of experimental foreign drama to Ireland, Van den Beuken shines a light on the Gate’s productions of several new Irish playwrights, such as Denis Johnston, Mary Manning, David Sears, Robert Collis, and Edward and Christine Longford. Having grown up during an era of political turmoil and bloodshed that led to the creation of an independent yet in many ways bitterly divided Ireland, these dramatists chose to align themselves with an avant-garde theater that explicitly sought to establish Dublin as a modern European capital. In examining an extensive corpus of archival resources, Van den