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21 min read What did The Irish Times first say about some works of literature that turned into classics? We trawled the archive to find out
The Irish Times was founded in March 1859 and, more than 160 years later, is recognised for the quality and the quantity of the pages it devotes to Irish and international literature. Its deep engagement is reflected in the authors who have written columns for it over the years, among them Brian Friel, Kate OâBrien, John Montague, Maeve Binchy, Derek Mahon, Nuala OâFaolain, Stewart Parker and, most famously, Flann OâBrien.
Things got off to a rather sluggish start, however, as Terence Brown observed in his history of the newspaper: âUntil the 1880s and 1890s there was little sense that Ireland possessed a literature of its own. This began to change, however, as what became known as the Irish Literary Revival began to make its impact on cultural life.â
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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.
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