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The interface between Arts Council policy and the lived experience of amateur drama, which this dissertation examines, provides cultural historians with an access point to understand post-war Irish society. After decades of neglect, the Irish Government initiated a series of fundamental cultural responses to post-war Ireland’s socio economic crisis. These initiatives included the Report on the Arts in Ireland (1949), the passing of the first Arts Act (1951), establishing An Chomhairle Ealaíon / the Arts Council of Ireland (1952) and initiating the national An Tóstal Festival (1953). This research argues that Arts Council’s support for amateur drama and other cultural festivals was essential to the state’s response to this deteriorating economic situation. Following Raymond Williams’s approach to cultural development, this research uses the Arts Council archive to analyse the development of amateur drama festivals. In addition, physical and digital archives exploring the North Cork, Western, Clare and All-Ireland Drama Festivals tell the story of this movement. The predominant focus of recent work concerning Irish theatre history is the professional rather than the amateur experience. However, in recent years, scholars in the United Kingdom, the United States of America, and Ireland have begun to understand amateur drama as a means of exploring the process of change in society. Rather than see amateur drama as a springboard for the professional, this research shows it was where people in post-war rural Ireland experienced the creativity and storytelling of the theatre. In addition, plays performed at amateur drama festivals became opportunities to highlight issues of national importance, such as emigration, poverty, and the institutionalisation of vulnerable women and children. Finally, it concludes that with Arts Council support, amateur drama festivals became a voluntary grassroots movement influencing audience attitudes towards Irish modernisation. 2025-05-29

El esplendor adquirido por el teatro español durante la segunda mitad del siglo XIX está fuera de dudas. Tal fue la importancia y repercusiones de este teatro que muchos géneros fueron evolucionando y adaptándose. En este teatro cobraron especial relevancia las obras menores, cortas, de apenas un acto, que servían de enlace en las funciones entre obras mayores (dramas, comedias, zarzuelas u óperas). Obras que acabaron predominando en la mayoría de las funciones celebradas. Gracias a estas obras cortas se dieron a conocer muchos autores. En muchos casos fueron autores locales, conocidos en círculos reducidos de ciudades o provincias. En algunos casos alcanzaron un reconocimiento mayor. El rastreo documental en archivos y prensa de la época, así como la cesión de una copia impresa de la obra por familiares del autor, han permitido rescatar del olvido esta pieza que, a pesar de haber sido representada en Madrid, no figura en los catálogos existentes, como los editados por la Fundación Juan March, imprescindibles para adentrarse en la vida teatral del siglo XIX. Resaltar el valor de estas obras menores y su contribución al florecimiento y auge del teatro como foco de cultura y llamar la atención sobre autores teatrales desconocidos, ausentes de los catálogos oficiales y del reconocimiento de la crítica, centran este trabajo The splendor acquired by the Spanish theater during the second half of the 19th century is beyond doubt. Such was the importance and repercussions of this theater that many genres evolved and adapted. In this theater, the minor, short plays of just one act, which served as a link in the functions between major works (dramas, comedies, operettas or operas). Works that ended up prevailing in most of the performed functions. Thanks to these short works many authors became known. In many cases they were local authors, known in small circles of cities or provinces. In some cases they achieved greater recognition. The documentary tracking in archives and the press of the time, as well as the transfer of a printed copy of the work by relatives of the author, have made it possible to rescue from oblivion this piece that, despite having been represented in Madrid, does not appear in the catalogs existing ones, such as those published by the Juan March Foundation, essential for entering the theatrical life of the 19th century. Highlighting the value of these minor works and their contribution to the flourishing and rise of the theater as a focus of culture and drawing attention to unknown theatrical authors, absent from official catalogs and from critical recognition, focus this work.

The purpose of this paper is to call attention to the results of a research which analysed the presence of women in the didactic materials used in Spanish Compulsory Secondary Education. 109 text books from three different publishers were checked and the results were very disappointed: just 7,6 % of the names quoted were women (López-Navajas, 2014). In addition to this, in this paper two relevant female Mexican playwrights are used to exemplify the didactic proposals that are been developed within the framework of the project “Women in ESO” (Compulsory Secondary Education). Moreover, these proposals could become a suitable vehicle to publicise a greater number of voices and texts of Latin American origin, in general, and Mexican, in particular, among Spanish society. El presente trabajo es consecuencia de la investigación de la Universitat de València que analizó la presencia de las mujeres en los contenidos de todas las asignaturas de la ESO en tres editoriales distintas. Se revisaron 109 manuales y los resultados que se obtuvieron fueron desastrosos: solo un 7,6 % de los personajes citados eran mujeres (López-Navajas, 2014). En el presente trabajo se ejemplifica con dos relevantes dramaturgas, las propuestas didácticas que se están desarrollando en el marco del proyecto Las mujeres en la ESO. Estas podrían convertirse, además, en un vehículo adecuado para dar a conocer en las aulas un mayor número de voces femeninas. Cet article est le résultat de la recherche de l'Université de Valence qui a analysé la présence des femmes dans les contenus de toutes les matières de l'ESO, en 109 manuels qui appartiennent à trois éditeurs différents. Les résultats obtenus étaient désastreux: seulement 7,6% des personnages mentionnés étaient des femmes (López-Navajas, 2014). Dans ce travail nous avons illustré, avec deux importantes dramaturges, quelques approches didactiques sur littérature développées dans le cadre du projet Les femmes dans l'ESO. Ce proposition pourrait aussi devenir un véhicule approprié pour faire connaître des autres voix féminines dans les classes.

Phraseologisms are symbolic and figurative means of expression that people have created through language over the centuries. Therefore, fiction cannot be imagined without phraseology. Fiction bus-relies entirely on artistic expression, imagery, and narrative. Therefore, the extensive and effective use of phraseology is extremely powerful in fiction. Phraseologisms are symbolic (figurative) means of expression and imagery that people have created through language over the centuries. That is why language and fiction cannot be imagined without phraseology.

espanolEn este trabajo se analiza, desde una lectura multiple (textual, linguistica, social), el teatro de la poeta madrilena Ana Merino (Madrid, 1971) como una propuesta dramaturgica para el siglo XXI. En una etapa de crisis del teatro actual, el analisis de sus piezas teatrales recogido en este estudio muestra su obra como una aportacion novedosa en el contexto del teatro femenino espanol actual. EnglishThis article discusses from a multiple reading (textual, linguistic, social) the theatre of the Spanish poet Ana Merino (Madrid, 1971) as a new dramaturgy proposal for 21st century. In context of crisis in the current theatre, the analysis of her theatre’s plays collected in this article shows her theatre as a singular contribution in context of the current Spanish female theatre.

The explosion of new theatre writing in Britain during and since the 'nineties contrasted with a dearth of original plays on continental Europe, east and west. Sanja Nikcevic attributes this in part to the dominance over the previous decades of the role of leading directors, who increasingly sought out raw materials to shape productions conforming to their own or their company's ideas. She traces the attempts in a number of countries to correct the imbalance by encouraging new writing through workshops and festivals—yet also how the explosion and importation of the British ‘in-yer-face’ style then affected the kind of new writing that was considered innovative and acceptable at such events. She argues against the claims made for the political significance of plays such as Sarah Kane's Blasted, suggesting rather that the acceptance of the normality of violence without reference to its social context negates the possibility of remedial action. A former Fulbright Scholar, Sanja Nikcevic is Head of the Department of English Literature at the University of Osijek, Croatia. Her full-length publications include The Subversive American Drama: Sympathy for Losers (1994), Affirmative American Drama: Long Live the Puritans (2003), and New European Drama: the Great Deception (2005). She was the founder and for eight years the president of the Croatian Centre of the International Theatre Institute.

[spa] Con esta investigación hemos querido dar un reconocimiento a la autoría femenina en el teatro catalán mediante los personajes femeninos creados por trece autoras dentro del periodo de 1975 a 2011, y que tuvo como principal objetivo confirmar la existencia de un Personaje Femenino Redondo, es decir, un personaje excepcional que no es solo reflejo del mundo que se ha representado, sino que más bien, una creación que se aleja del colectivo de una época siendo un personaje más humano, permitiendo así la ausencia de conatos. El grupo seleccionado correspondió a las autoras más significativas en Cataluña —dentro del periodo— que con sus aportes a la escritura teatral han logrado el reconocimiento tanto del público como de la crítica especializada; tomando como base, a las dramaturgas catalanas con una producción importante, cuyas obras han sido premiadas, publicadas y/o estrenadas en cualquier circuito teatral catalán. Los textos seleccionados tuvieron la particularidad de ser obras en las cuales aparecen personajes femeninos tanto protagonistas como secundarios. Aquellas que presentaron personajes masculinos como protagonistas no fueron incluidas. Las autoras seleccionadas fueron agrupadas en tres periodos: 1) autoras anteriores a la democracia (Maria Aurèlia Capmany, Mercè Rodoreda y Rosa Victoria Gras); 2) autoras de finales del siglo XX (Lluïsa Cunillé, Àngels Aymar, Beth Escudé y Mercè Sarrias); 3) autoras del siglo XXI (Eva Hibernia, Carol López, Gemma Rodríguez, Victoria Szpunberg, Marta Buchaca y Cristina Clemente). De cada una de ellas, investigamos y analizamos el personaje femenino desde el punto de vista del texto dramático (género literario) y la autoría femenina (gender). Nos interesó el personaje femenino como signo semiótico, por eso analizamos las relaciones entre los personajes y los diferentes elementos que conforman la obra ya que la incursión de la mujer en la dramaturgia significó una nueva forma de entender el fenómeno teatral. Desde este nuevo punto de vista la creación dramática otorga nuevos parámetros que configuran el personaje femenino produciendo un quiebre en los modelos establecidos donde la mujer siempre ha sido un objeto y no un sujeto. En nuestra investigación el personaje femenino adquirió diferentes características que finalmente se unieron en un objetivo común: retratar a la mujer en la sociedad catalana tal como la perciben las mujeres, provocando un punto de inflexión en la representación de la realidad que ha sido construida por una visión masculina., [eng] The research presents the results of an analysis of eighty-one plays written by thirteen catalan authors between 1975-2011 period in which we confirmed the existence of a “fully defined and complete female character”, namely, an exceptional character which is not only a reflection of the world that is represented, but rather a creation that moves away from the collective of an age, being a human character allowing the absence of attempts. Selected authors were grouped into three periods: 1) authors previous to the establishment of democracy, 2) authors of the late twentieth century, and 3) authors of the century twenty-one. From each one of them we investigate and analyze the female character from the point of view of dramatic text (literary genre) and the female authorship (gender). We were interested in the female character as a semiotic sign, therefore we analyze the relationships between the characters and the different elements of the play since the incursion of women in the playwriting meant a new way of understand the theatrical phenomenon. From this new point of view the dramatic creation gives new parameters that configure the female character producing a break in the established models where women always it has been an object and not a subject. In our research the female character acquired different characteristics that finally joined in a common objective: to portray women in the catalan society such as the women perceive it, causing an inflection point in the representation of reality that has been constructed by a male view.

El presente trabajo es consecuencia de la investigación de la Universitat de València que analizó la presencia de las mujeres en los contenidos de todas las asignaturas de la ESO en tres editoriales distintas. Se revisaron 109 manuales y los resultados que se obtuvieron fueron desastrosos: solo un 7,6 % de los personajes citados eran mujeres (López-Navajas, 2014). En el presente trabajo se ejemplifica con dos relevantes dramaturgas, las propuestas didácticas que se están desarrollando en el marco del proyecto Las mujeres en la ESO. Estas podrían convertirse, además, en un vehículo adecuado para dar a conocer en las aulas un mayor número de voces femeninas. The purpose of this paper is to call attention to the results of a research which analysed the presence of women in the didactic materials used in Spanish Compulsory Secondary Education. 109 text books from three different publishers were checked and the results were very disappointed: just 7,6 % of the names quoted were women (López-Navajas, 2014). In addition to this, in this paper two relevant female Mexican playwrights are used to exemplify the didactic proposals that are been developed within the framework of the project “Women in ESO” (Compulsory Secondary Education). Moreover, these proposals could become a suitable vehicle to publicise a greater number of voices and texts of Latin American origin, in general, and Mexican, in particular, among Spanish society. Cet article est le résultat de la recherche de l'Université de Valence qui a analysé la présence des femmes dans les contenus de toutes les matières de l'ESO, en 109 manuels qui appartiennent à trois éditeurs différents. Les résultats obtenus étaient désastreux: seulement 7,6% des personnages mentionnés étaient des femmes (López-Navajas, 2014). Dans ce travail nous avons illustré, avec deux importantes dramaturges, quelques approches didactiques sur littérature développées dans le cadre du projet Les femmes dans l'ESO. Ce proposition pourrait aussi devenir un véhicule approprié pour faire connaître des autres voix féminines dans les classes.

En este artículo se realiza un recorrido por el panorama teatral madrileño femenino. Se habla de autoras de teatro en español de actualidad, sus modos de creación, los temas y géneros trabajados y sus inquietudes. Se exponen también las diferentes compañías de teatro en las que todas o prácticamente todas las integrantes son mujeres, su funcionamiento, estilo de trabajo y medios, así como los espacios, las salas alternativas más importantes de Madrid. Se dedica un espacio a la danza y a los eventos dedicados a esta, como el Festival Internacional de Danza Miradas del Cuerpo, y también a los espacios de formación teatral no formales, cursos, seminarios y escuelas. La autora también analiza el teatro infantil o familiar, la presencia de mujeres en este y sus objetivos principales. This article takes a tour of the Madrid female theater scene. It talks about current Spanish theater authors, their modes of creation, the themes and genres worked on, and their concerns. The different theater companies in which all or practically all the members are women are also exposed, as well as their operation, work style and media, as well as the spaces, the most important alternative rooms in Madrid. A space is dedicated to dance and to the events dedicated to it, such as the International Dance Festival Miradas del cuerpo, and also to non-formal theatrical training spaces, courses, seminars and schools. The author also analyzes children's or family theater, the presence of women in it and its main objectives.

During the attempts for theatrical renewal in the twenties, several playwrights worked also as actors. The Baroja’s acted in the company ‘El Mirlo Blanco’; D. Pío participation was enthusiastic although brief, while his brother Ricardo was better recognized for his work as stage designer. Rivas Cherif participated in numerous performances and his coherence with the new theatre model that he defended was unanimously praised. Eusebio de Gorbea was considered the best actor among the playwrights, although his more appreciated characteristics like tone, gesture and roughness approached him to naturalism. The interpretative work of these authors as components of a group, whose nucleus remained amongst successive renovation attempts, is also recognized by its discipline, renounce to individual success and subordination to scenic treatment. En los ensayos de renovación teatral de los años veinte, varios dramaturgos intervinieron como actores. Los hermanos Baroja actuaron en la compañía ‘El Mirlo Blanco’: la participación de D. Pío fue entusiasta pero breve; de su hermano Ricardo se recuerda con mayor interés su labor de escenógrafo. Las numerosas actuaciones de Rivas Cherif fueron unánimemente valoradas por su coherencia con los presupuestos del nuevo teatro que tanto defendió. Eusebio de Gorbea fue el dramaturgo más reconocido en su labor de actor, si bien sus rasgos más destacados, tono, ademán, rudeza le sitúan cercano al naturalismo. La labor interpretativa de estos autores como componentes de un grupo, cuyo núcleo se mantiene en los sucesivos intentos renovadores, es también alabada por su disciplina, renuncia al lucimiento y supeditación al tratamiento escénico.

One of the oldest recurring western mythical traditions finds its roots in the Ancient Near East. At the core of this abiding tale is a high-ranking woman, often married, who attempts to seduce a young man, who spurns her. The affronted woman then accuses the youth of assault and either he or both meet a violent end. Often at the heart of each tale lies something monstrous about the potential union of the two individuals. In the Greek and Roman tradition, one example of this "spurned-woman" motif manifests itself in the Phaedra-Hippolytus myth. No fewer than three ancient playwrights-Sophocles, Euripides, and Seneca--produced no fewer than four variations on this myth, altering characters' behavior, adding or removing the participation of the gods, and generally playing with combinations. There have been modem spins-offs, too, including Jean Racine's Phèdre and Eugene O'Neill's Desire Under the Elms. However, another modern resonance of the Phaedra-Hippolytus myth, more subtle and creative, and yet undeniably drawn on similar themes and characters lurks in the western canon: Shakespeare's A Midsummer Night's Dream (MND). Although Phaedra and Hippolytus themselves are physically absent from MND, the themes of their myth are so intimately interwoven in MND that close examination reveals their ghosts, silent and invisible, walking among MND's fairy folk. Because MND explores the Phaedra-Hippolytus themes in great depth, it both echoes and portends the destruction of Theseus' family, and therefore the Phaedra-Hippolytus myth.

L-awtur jitkellem dwar il-palk Malti barra minn xtutna fejn il-Maltin emigranti jistgħu jinġabru f’teatru wieħed biex jaraw xi reċta bil-Malti. L-awtur ried juri li l-Maltin ta’ barra li żammew l-arti teatrali fosthom, jistħoqqilhom ġieħ kbir., N/A