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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

Ovaj diplomski rad istražuje koncept prostora, a ponajviše njegovu simboličku vrijednost u odabranom korpusu antičkih drama najpoznatijih rimskih komediografa Plauta i Terencija, kao i grčkih tragičara Eshila, Sofokla i Euripida. Prvi dio rada posvećen je općenitoj teoriji prostora i govori o značenju prostora u književnom tekstu, definiciji književne geografije, epohi prostora, fenomenu prostora i prostornosti te raščlambi simboličkih, svetih i transcendentnih prostora. U drugom dijelu rada uključene su odabrane polazne drame te su navedena određena geografska mjesta važna za daljnje simboličko shvaćanje koje slijedi. Najveći dio rada bavi se upravo simboličkom konceptualizacijom pojedinih prostora i načinom na koji su određene prostore doživljavali ondašnji čitatelji – potkrijepljeno citatima polaznih antičkih drama: Škrtac, Hvalisavi vojnik, Djevojka s otoka Androsa, Formion, Samomučitelj, Okovani Prometej, Kralj Edip, Antigona, Medeja, Elektra te Ifigenija među Taurijcima. This graduate thesis explores the concept of space, and above all, its symbolic value in a selected corpus of ancient plays by the most famous Roman comedy writers Plautus and Terence, as well as the Greek tragedians Aeschylus, Sophocles and Euripides. The first part of the work is dedicated to the general theory of space and talks about the meaning of space in a literary text, the definition of literary geography, the epoch of space, the phenomenon of space and spatiality, and the analysis of symbolic, sacred and transcendent spaces. In the second part of the work, selected initial dramas are included and certain geographical places important for the further symbolic understanding that follows are listed. The largest part of the work deals with the symbolic conceptualization of certain spaces and the way in which certain spaces were perceived by the readers of that time - supported by quotations from the initial ancient plays: The Miser, The Boastful Soldier, The Girl from the Island of Andros, Formion, The Self-Torturer, Prometheus in Chains, Oedipus the King, Antigone, Medea , Electra and Iphigenia among the Taurians.

Resumen En el contexto de la última dictadura argentina (1976-1983), el objetivo de nuestro artículo es analizar cómo el acto creador dramatúrgico varía según se impone en él la realidad del exilio o del insilio de los teatristas. A través de nuestro corpus, estudiamos a tres dramaturgas exiliadas en España (Bortnik, Gambaro y Raznovich) y las propuestas de dos artistas que permanecieron en Argentina y plasmaron el exilio en sus obras (Gris de ausencia de Cossa y Lejana tierra prometida de Halac). Esto permite, a su vez, reflexionar sobre el teatro en un sentido ontológico y corroborar la vitalidad de los contactos entre Argentina, España e Italia durante este tiempo. Abstract This works examines how the dramaturgical creative act varies according to the reality of the artist in exile, whether at home or abroad, in the context of Argentina’s last dictatorship (1976-1983). Our corpus examines three playwrights in exile at the time in Spain (Bortnik, Gambaro and Raznovich) and the works of two artists who considered the topic of exile while remaining in Argentina (Gris de ausencia by Cossa and Lejana tierra prometida by Halac). In turn, this allows us to consider an ontological perspective of theatre and uphold the vitality of contact between Argentina, Spain and Italy during this time. Resumo No contexto da última ditadura na Argentina (1976-1983), o objetivo de nosso artigo é analisar como o ato criativo dramatúrgico varia de acordo com a realidade do exílio ou insílio imposto aos dramaturgos. Por meio de nosso corpus, estudaremos três dramaturgos exilados na Espanha no momento (Bortnik, Gambaro e Raznovich) e as propostas de dois artistas que permaneceram na Argentina e refletiram sobre o exílio em suas obras (Gris de ausencia, de Cossa, e Lejana tierra prometida, de Halac). Por sua vez, isto nos permitirá refletir sobre o teatro em um sentido ontológico e corroborar a vitalidade dos contatos entre Argentina, Espanha e Itália durante esse período.