Irish Theatre History Conference: Archives, Historiography, Politics, November 25th & 26th, 2011

Irish Theatre History Conference

 Archives, Historiography, Politics – Ten Years On


 ‘Performance, Memory, Futures’




National University of Ireland, Galway



25 & 26 November 2011





Friday afternoon—25 November


2.15 – Launch of conference


2.30-3.45 – Presentations by theatre archivists


3.45 – coffee/ tea


4 – 5.45: PANEL SESSION 1


Panel A

Ø     Paul Murphy, “Irish Theatre and the "C" Word”

Ø     Chris Collins, “Modernities of the Moon: J.M. Synge's pre-Christian Coda Confirmed”

Ø     James Hickson, “The representation of Dublin working class communities on stage and screen”


Panel B

Ø     Anastasia Remoundou-Howley, “Another Taking Place: Antigone in Northern Ireland Now

Ø     Scott Boltwood, “Restoring the Ulster Group Theatre to Irish Theatre History”

Ø     David Grant, “‘How Do You Mean?’: Image Theatre, Visual Ethnography and the documentation of the subjective”


6 – 7.30:       Jen Harvie, “Theatre Historiography for Better

                        Futures:  Materialities, Ideologies and Arts Funding”




Saturday—26 November


9 – 10.45 – PANEL SESSION 2


Panel A:       Theatre Archives: From Production to Archives

                        to Academia

Shelley Troupe

Thomas Conway

Barry Houlihan


Panel B:       Mirror Up To Manhood:  Theatre, History, and Irish                         Masculinities.

Cormac O’Brien

Emma Jane Dale

Brian Singleton                    


10.45-11.15 – Coffee/Tea


11.15 – 13.00 – PANEL SESSION 3


Panel A

Ø      Deirdre McFeely, “Shakespeare on the Dublin Stage, 1660-1904”

Ø      David O’Shaughnessy, “John O’Keeffe: ‘Our English Moliere’ (from Dublin)”

Ø      Aoife Monks, “Performing Virtuosity”


Panel B

Ø     Lisa Fitzpatrick, “Documenting Alternative Practices: the example of Laundry in the Dublin Theatre Festival”

Ø     Esther Armstrong, “Visual dissonance and identity politics in an ‘Irish’ Peer Gynt

Ø     Paul Donnelly, “Other places’: spectatorship and social media in Irish theatre”


Panel C: Joseph Holloway

Hugh Denard, “Architecture, Actors and Archives: An Appointment with Mr Holloway”


Nicholas Grene


Lunch 1-2



2-3.15:          Mark Phelan “Truth & Recrimination: Archives,

                        Political Memory and Performance”



3.15 – 5.00– PANEL SESSION 4


Panel A

Ø     Nelson Barre, “Acting Memories: Performed History in The Walworth Farce

Ø     Melissa Sihra, “Glimpses of the Possible: Remembering the Mythic and the Dead in New Plays by Marina Carr”

Ø     Kuan-hui Liao “A Whore That Sleeps with Christian Boys:” John Barrett’s Borrowed Robes and the Idea of “the Irish Jewess”

Ø     Miriam Haughton, “Power Plays: A Critical Approach


Panel B

Ø     Alexandra Poulain, “The politics of Passion : WB Yeats’s Calvary (1920) and Lady Gregory’s The Story Brought by Brigit (1924)

Ø     Helene Lecossois, “Memory and trauma in the plays of J. M. Synge”

Ø     Yuh. J, Hwang, “‘The Political’, theatre riots, and Audience”


Panel C

Ø     Joseph Greenwood, “Song as a Performance of Memory in John Murphy’s The Country Boy (1959)”

Ø     Emilie Pine,Acting Out: Performing women on stage and in society in 1930s Ireland”

Ø     Ian R. Walsh, “Re-membering The Royal