Cultural Convergence
The Dublin Gate Theatre, 1928–1960
Description:... Intro -- Acknowledgements -- Contents -- Notes on Contributors -- List of Figures -- 1 Introduction: Cultural Convergence at Dublin's Gate Theatre -- Works Cited -- 2 The Internationalist Dramaturgy of Hilton Edwards and Micheál mac Liammóir -- Hilton Edwards: Theatricalizing the Irish Stage -- Micheál mac Liammóir: Internationalizing Irish-Language Drama -- Conclusion -- Works Cited -- 3 Gearóid Ó Lochlainn: The Gate Theatre's Other Irish-Speaking Founder -- Introduction -- Formative Years -- Denmark -- An Comhar Drámuíochta -- Ó Lochlainn and the Gate Theatre -- Ó Lochlainn's Post-Gate Career -- An Actor in Search of an Audience -- Works Cited -- 4 The Transnational Roots of Key Figures from the Early Years of the Gate Theatre, Dublin -- New Interculturalism and Intercultural Performance -- Hilton Edwards -- Micheál mac Liammóir -- Coralie Carmichael -- Nancy Beckh -- Conclusion -- Works Cited -- 5 The Other Gates: Anglo-American Influences on and from Dublin -- The London Gate -- Familiar Narratives Concerning the Foundation of the Dublin Gate Reviewed -- Links Between the Gates: Projected Programming, Exchange of Plays and the Circulation of Key Theatrical Personnel -- Hitherto Unrecognized Influence -- The London Gate as a 'Parent' Theatre and Its Artistic Impetus for Other Theatres -- Reorganization in Hollywood: The 'Third Gate'14 -- Continuing the Policy of the Gate Theatre at the Watergate Theatre Club -- Conclusion -- Works Cited -- 6 The Brothers Čapek at the Gate: R.U.R. and The Insect Play -- R.U.R. -- Textual History -- R.U.R. by the Gate -- Reception -- Problem with Audiences -- The Insect Play -- Textual History -- The Gate Production -- Reception -- Conclusion -- Works Cited -- 7 Kismet: Hollywood, Orientalism and the Design Language of Padraic Colum's Mogu of the Desert -- Works Cited.
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