Ireland’s Theatre on Film: Style, Stories and the National Stage on Screen

Description

Provides an in-depth examination of the relationship between Irish theatre and film across a significant period of the 20^th Century. Divided into three interwoven sections, the book considers the relationship historically (as functional, financial and political) between the Abbey Theatre and film practitioners from the beginning of the sound period. Secondly, it explores the adaptation for screen of a number of plays from the Abbey repertoire and considers how key directors such as John Ford, Alfred Hitchcock and Carol Reed used a theatricality of performance and narrative of ‘Irishness’ to cinematic effect.  Thirdly, it looks at the implications for a cinematic style of performances by stage actors, both individually and in groups.

The book introduces an original perspective on understanding a theatricality of film. This includes adaptations and appropriations of dramatic texts for the screen, the interactions of Irish stage performers and internationally established directors, and the merging of performative styles through the two media.

Table of Contents

INTRODUCTION: Theatre, film and cultural adaptation

SECTION ONE: Early sound, performance and adaptation
1. Irish stage actors, filmed theatre and the apparatus of sound cinema
2. Sean O’Casey by Alfred Hitchcock and John Ford
3. John Millington Synge and Ireland by Brian Desmond Hurst.

SECTION TWO: A middle period, performing theatre and national identity
4. The Abbey and state policy: a context for characterisation
5. National Theatre actors on screen
6. John Ford and the Abbey players
7. The Abbey and film companies

SECTION THREE: The Ardmore Studios project.
8. Behind the Emmet Dalton and National Theatre collaboration
9. Institutional interrogation of Irishness.
10. Community Films by the Abbey at Ardmore.

About the Author

Barry Monahan is currently lecturing in the fields of American Cinema, European and World Cinema, and Cinema and Ireland, but his research is predominantly based within the latter.  His recent publications include articles on Irish film and theatre history as well as a number on contemporary Irish cinema.