Clowning as Human Rights Activism in Recent Devised Irish Theatre by Molly Ferguson

“…I argue that clowning is a growing undercurrent in Irish theatre, advancing human rights speech that challenges neoliberal and conservative views on immigration, racism, poverty, and homosexual rights.…”
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Myths in crisis? Marina Carr’s revision of feminine myths in contemporary Irish Theatre by María del Mar González Chacón

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The Land of Saints and How to Get Out of It by Luppi, Fabio

Subjects: “…Diaspora. Emigration. Irish. Theatre…”
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Dramaturgical Precedence: Music, Space and the Story in Conor McPherson’s The Night Alive and Girl from the North Country by Maha Alatawi

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“Women’s Voices in Contemporary Irish Theatre: Postfeminist and Ethical Issues in Marina Carr’s Marble and Nancy Harris’ No Romance” by Sandra Novkinić

Subjects: “…postfeminism, equality, gender, ethical issues, contemporary Irish theatre, Marina Carr, Marble, Nancy Harris, No Romance…”
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Reclaiming the Silenced History of LGBTIQA+ Activism and the HIV/AIDS Crisis through Irish Theatre. An Interview with Phillip McMahon by J. Javier Torres-Fernández

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The “Hibernicising” of George Farquhar’s Plays after Irish Independence by DAVID CLARE

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Shakespeare’s Other Eden by Salis, Loredana

Subjects: “…History. Irish theatre. Ouroboros. Richard II. Shakespeare our contemporary…”
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Hilton Edwards, Brecht and the Brechtian by Joan FitzPatrick Dean

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Community With Shared Differences: Solo Performance in Pat Kinevane’s Silent and Panti’s A Woman in Progress by Zixin Huang

“…By addressing the significance of solo performance in contemporary Irish theatre, this paper calls for the diversification of not only subjects but also forms in contemporary Irish theatre.…”
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Ireland Is My Home by Rania M. Rafik Khalil

“…The representation of outsiders is a common theme in Irish drama as a method to interpret and reinterpret Irish national identity. More recently, Irish theatre has explored the meaning and experiences of the “new Irish” (Salis 2010, 43). …”
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“Recalled to Life”: Postmodernism in Lennox Robinson’s The Lost Leader (1918) by Joseph M. Greenwood

“…Despite playing a pivotal role in the development of Irish theatre, especially through his association with the Abbey Theatre (as writer, manager, director, and member of the Board of Directors), Lennox Robinson (1886-1958), is a largely forgotten figure, both within the public domain and within Irish scholarship. …”
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Women and Marriage: Hazel Ellis' Gate Theatre Plays of the 1930s in Context by José Lanters

“…Keywords: Hazel Ellis, Gate Theatre Dublin, Irish theatre, women, marriage, divorce, marriage bar. …”
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‘No comfort talking when there’s a man around’: Maura Laverty’s Tolka Row (1951) and a neglected tradition of popular drama at the Gate Theatre, Dublin by Finian O'Gorman

“…By drawing on previously unexplored archival material which shows evidence of significant cuts to the original script, this paper suggests that the directors of Gate Theatre Productions – Hilton Edwards and Micheál mac Líammóir – either denied or disavowed the extent to which a more popular drama could impact Irish theatre and society.…”
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