Resumo em Inglês:

Abstract: Sir Roger Casement (1864-1916) was a diplomat in the British Colonial Service and an Irish nationalist who was hanged for high treason in London in 1916. The first part of this article offers a critical overview of the material that has been published about Casement's humanitarian work in the Congo and the Peruvian Amazon and his trial in London, including biographies and editions of his own journals, particularly the so-called Black Diaries, as well as the various dramatisations of this material for the stage and other media, concentrating on those produced in the twenty-first century. The second part of the article consists of the playwright’s first-person account of the writing of As Duas Mortes de Roger Casement (subsequently translated into English as The Two Deaths of Roger Casement), which received its premiere in São Paulo in 2016, commenting on the play’s relationship to its sources and the decisions that were taken in the creative process.

Resumo em Inglês:

Abstract: The present article aims at discussing, first and briefly, the experimental features Samuel Beckett (1906-1989) imprinted in Waiting for Godot (1948-1949), among them the implosion of dramatic elements and the inscription of detailed performance instructions within the text itself, thus creating a performance model for which he used to demand respect. Thereupon, after addressing the 1955 first incursion of Godot in Brazil, a historical panorama of some outstanding stage productions of the play will be provided, mainly in terms of conceptualization and critical reception, in the light of theoretical perspectives by Oswald de Andrade, José Roberto O’Shea, Patrice Pavis, Peter Burke, among others.

Resumo em Inglês:

Abstract: This article focuses on the Mexican play, eXtras, Sabina Berman's translation and adaptation of the Irish hit play Stones in His Pockets by Marie Jones. Linda Hutcheon, Thomas Leitch, and other contributors to adaptation studies shed light on the process used by Berman to tradapt and glocalize Stones in His Pockets for the Mexican stage, where the combined forces of Hollywood and globalization have likewise ravaged the local economy and where Jones's tragicomic story of exploitation and anonymization played every bit as well as it did in Ireland.

Resumo em Inglês:

Abstract: This article argues for the inclusion of Québécois translations of Irish plays as part of the Irish theatrical diaspora. The presence of an Irish diaspora in North America was mainly the result of massive waves of immigration, in large part due to the Great Famine, peaking during the mid-nineteenth century before gradually abating. This diaspora was integrated into Quebec society, undoubtedly facilitated by similar political, religious, and even linguistic elements. Interest in Irish culture, especially in its theatrical output, remains high, with many theatre companies, for example Théâtre La Licorne in Montreal, in the province commissioning seasons based on Celtic Tiger-era dramas, translated by Québécois playwrights. In tracing the reason for this interest, despite diminished recent immigration, this article provides the basis for continued research into the performative force of proactive translations across varying diasporic traditions.

Resumo em Inglês:

Abstract The success of Brian Friel’s drama on stage in the English-speaking world is beyond dispute. Many of his plays have also been widely translated leading to numerous productions worldwide. My concern in this article is with French-language productions. The focus in this article will be, first, on the association between Brian Friel and the late great French actor and director Laurent Terzieff, who introduced French theatre professionals and audiences to Friel; and secondly on Dancing at Lughnasa, the play that has been most often performed on French stages, with specific reference to productions twenty years apart by two women directors, Irina Brook (1999) and Gaëlle Bourgeois (2019).

Resumo em Inglês:

Abstract This article examines the portrayal of the domestic realm in both Irish playwright Sean O'Casey's 1920s Dublin Trilogy and Korean playwright Yu Ch'i-jin's 1930s Nongchon trilogy. I argue that Yu echoes O’Casey’s staging of nationhood by focusing on the homeland and the home, as he deems O’Casey’s methods to be most successful for catering to the general people of the colonized nation. Moreover, I recognize that this is Yu’s attempt to establish a transcolonial solidarity between Korean and Irish national theatre, rather than to produce a “Westernized” theatre tradition for the Korean nation.

Resumo em Inglês:

Abstract: During the three decades of the Troubles of Northern Ireland (1969-1998), a remarkable amount of plays about the conflict was written, most by (Northern) Irish playwrights. Recently, however, alongside growing concerns about violence worldwide since 9/11, authors who are not of Irish descent have begun to choose the Northern Troubles as their theme. This article deals with two plays, Richard Bean’s The Big Fellah and Jez Butterworth’s The Ferryman, neither of which was written by an Irish playwright, and examines whether and to what extent it is possible to say that they can transcend regional boundaries and become part of global memories in the context of the post-Good Friday Agreement and 9/11.

Resumo em Inglês:

Abstract The Irish playwright Dion Boucicault (1820-1890) spent most of his career in the United States, where he established himself, adapting crucial moments of Irish history to the stage. Robert Emmet (1884), a play produced at the end of his career, arouses questioning surrounding its authorship. The dramatic text was arguably written by the playwright Frank Marshall (1840-1889) at the request of the actor Henry Irving (1838-1905). This article explores the question of Robert Emmet’s authorship and investigates the reception of the production in its unsuccessful opening season at the McVicker’s Theatre in Chicago in November, 1884, and Boucicault’s part in it.

Resumo em Inglês:

Abstract: Dion Boucicault’s three Irish plays: The Colleen Bawn (1860), Arrah-na-Pogue (1864) and The Shaughraun (1874), while not critically significant, owe their perennial popularity to their appeal to Irish romantic nationalism and to their memorable character types. While Boucicault’s character Myles Murphy or Myles na gCopaleen (Myles of the Ponies), an example of his native Irish hero, was the first of a series of rogue heroes that John Millington Synge developed in his character of Christy Mahon, Boucicault also owes the character of Myles to American native heroes like Sam Patch, Davy Crockett and Mose the Bowery B’hoy. While the plays are not great drama, they are good theatre and a less self-conscious national theatre has found room for both Boucicault and Synge.