Announcing Two New Publications: The Palgrave Handbook  of Contemporary Irish Theatre and Performance and The Theatre and Films of Conor McPherson: Conspicuous Communities


We are delighted to announce two recent additions to the field of contemporary, Irish theatre studies, The Theatre and Films of Conor McPherson: Conspicuous Communities (Methuen Drama, Febraury 2019) authored by Prof Eamonn Jordan and The Palgrave Handbook  of Contemporary Irish Theatre and Performance (Palgrave MacMillan, October 2018) co-edited by Prof Jordan with Assoc. Prof Eric Weitz, Associate Professor in Drama and Theatre Studies at Trinity College Dublin, Ireland. 

Eamonn Jordan is Associate Professor in Drama Studies at the School of English, Drama and Film, University College Dublin. His many publications on Irish theatre include: The Feast of Famine: The Plays of Frank McGuinness (1997); Theatre Stuff: Critical Essays on Contemporary Irish Theatre(2000); The Theatre of Martin McDonagh: A World of Savage Stories (co-edited with Lilian Chambers, 2006); Dissident Dramaturgies: Contemporary Irish Theatre (2010); The Theatre of Conor McPherson:'Right beside the Beyond' (co-edited with Lilian Chambers, 2012), and From Leenane to LA: The Theatre and Cinema of Martin McDonagh (2014).

The Palgrave Handbook  of Contemporary Irish Theatre and Performance 

The Palgrave Handbook of Contemporary Irish Theatre and Performance is a collection of sixty essays edited by Eamonn Jordan and Eric Weitz.  The handbook features contributions of many staff members, past and present, from UCD's School of English, Drama and Film including Finola Cronin, Anne Fogarty, Kellie Hughes, Paul Halferty, Audrey McNamara, Cormac O’Brien, Emilie Pine, Noelia Ruiz, Ashley Taggart, Susanne Colleary, Kasia Lech, Cathy Leeney, Christopher Murray, Ian Walsh and Kevin Wallace. Two PhD students from the School, Maha Alatawi and Luke Lamont, have also contributed essays. 

This Handbook offers a multiform sweep of theoretical, historical, practical and personal glimpses into a landscape roughly characterised as contemporary Irish theatre and performance. Bringing together a spectrum of voices and sensibilities in each of its four sections — Histories, Close-ups, Interfaces, and Reflections — it casts its gaze back across the past sixty years or so to recall, analyse, and assess the recent legacy of theatre and performance on this island. While offering information, overviews and reflections of current thought across its chapters, this book will serve most handily as food for thought and a springboard for curiosity. Offering something different in its mix of themes and perspectives, so that previously unexamined surfaces might come to light individually and in conjunction with other essays, it is a wide-ranging and indispensable resource in Irish theatre studies.


The Theatre and Films of Conor McPherson: Conspicuous Communities

The spellbinding premiere of The Weir at the Royal Court in 1997 was the first of many works to bring Conor McPherson to the attention of the theatre-going public. Acclaimed plays followed, including Shining City, The Seafarer, The Night Alive and Girl from the North Country, garnering international acclaim and being regularly produced around the globe.

McPherson has also had significant successes as a theatre director, film director and screenwriter, most notably with his award-winning screenplay for I Went Down.

This companion offers a vibrant, detailed and engaging critical analysis of the plays and films of Conor McPherson. It considers issues of gender and class disparity, violence and wealth in the cultural and political contexts in which the work is written and performed, as well as the inclusion of song, sound, the supernatural, religious and pagan festive sensibilities through which initial genre perceptions are nudged elsewhere, towards the unconscious and ineffable. Supplemented by a number of contributed critical and performance perspectives, including an interview with Conor McPherson, this is a book to be read by theatre audiences, performance-makers and students who wish to explore, contextualise and situate McPherson's provocative, exquisite and generation-defining writings and performances.

A necessary companion for those interested in the work of McPherson, contemporary Irish theatre, or indeed theatre in general, Eamonn Jordan offers detailed, authorative and accessible insights into McPherson's theatre and film from an impressive range of critical contexts. --Dr Rhona Trench, Institute of Technology Sligo, Ireland