A revised and updated version of this pioneering study covers the extraordinary revival of Irish drama in the second half of the twentieth century. By comparing the theatre of Samuel Beckett to more culturally specific Irish plays, the book establishes a greater international and theatrically experimental context for the field than has been recognised. Its three central chapters offer close and contextualised readings of the careers of Brian Friel, Tom Murphy and Thomas Kilroy across a span of more than four decades. The drama of Northern Ireland and its theatrical response to political violence receives sustained attention through a wide range of playwrights, including Frank McGuinness, Gary Mitchell, Christina Reid and Anne Devlin. A new chapter considers the work of such younger playwrights as Martin McDonagh and Marina Carr who emerged in the 1990s to probe the shortcomings of the 'Celtic Tiger' phenomenon. The book draws on significant productions of the period and will prove invaluable for students and theatregoers alike.

This is a fresh reassessment of the work of the principal playwrights associated with the Irish Dramatic Revival, a movement that was to radically redefine Irish theatre and see the birth of the world's first national theatre, the Abbey, in 1904. The work of O'Casey and Synge has had a profound influence on generations of writers and remains key to the study of modern drama, whereas work by Yeats and Lady Gregory has received renewed attention among theatre makers and scholars owing to their radical innovation and range.From a consideration of the twin strands of Irish drama prior to the revival, Anthony Roche considers the work of Synge and his experimentation in the creation of a new national drama that drew on native sources while developing a modern and prophetic form of theatre. He explores the role of Yeats as founder and playwright; the role of women and in particular Lady Gregory as producer and dramatist; and the playwrights who emerged following independence. O'Casey's ground-breaking Dublin plays receive detailed consideration, and the new Irish modernism that followed in the 30s and which also witnessed the founding of the Gate Theatre in Dublin.The Companion also features a number of essays from other leading scholars and contemporary practioners offering a variety of critical perspectives on this period of radical change and development in modern Irish theatre.

Brian Friel is widely recognized as Ireland's greatest living playwright, winning an international reputation through such acclaimed works as Translations (1980) and Dancing at Lughnasa (1990). This collection of specially commissioned essays includes contributions from leading commentators on Friel's work (including two fellow playwrights) and explores the entire range of his career from his 1964 breakthrough with Philadelphia, Here I Come! to his most recent success in Dublin and London with The Home Place (2005). The essays approach Friel's plays both as literary texts and as performed drama, and provide the perfect introduction for students of both English and Theatre Studies, as well as theatregoers. The collection considers Friel's lesser-known works alongside his more celebrated plays and provides a comprehensive critical survey of his career. This is the most up to date and comprehensive study of Friel's work to be published, and includes a chronology and further reading suggestions.

Brian Friel is widely recognized as Ireland's greatest living playwright, winning an international reputation through such acclaimed works as Translations (1980) and Dancing at Lughnasa (1990). This collection of specially commissioned essays includes contributions from leading commentators on Friel's work (including two fellow playwrights) and explores the entire range of his career from his 1964 breakthrough with Philadelphia, Here I Come to his most recent success in Dublin and London with The Home Place (2005). The essays approach Friel's plays both as literary texts and as performed drama, and provide the perfect introduction for students of both English and Theatre Studies, as well as theatregoers. The collection considers Friel's lesser-known works alongside his more celebrated plays and provides a comprehensive critical survey of his career. This is the most up to date and comprehensive study of Friel's work to be published, and includes a chronology and further reading suggestions.

A revised and updated version of this pioneering study covers the extraordinary revival of Irish drama in the second half of the twentieth century. By comparing the theatre of Samuel Beckett to more culturally specific Irish plays, the book establishes a greater international and theatrically experimental context for the field than has been recognised. Its three central chapters offer close and contextualised readings of the careers of Brian Friel, Tom Murphy and Thomas Kilroy across a span of more than four decades. The drama of Northern Ireland and its theatrical response to political violence receives sustained attention through a wide range of playwrights, including Frank McGuinness, Gary Mitchell, Christina Reid and Anne Devlin. A new chapter considers the work of such younger playwrights as Martin McDonagh and Marina Carr who emerged in the 1990s to probe the shortcomings of the 'Celtic Tiger' phenomenon. The book draws on significant productions of the period and will prove invaluable for students and theatregoers alike.