Women and Irish Theatre before 1960
Women and Irish Theatre before 1960
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1960 年之前的妇女和爱尔兰剧院
DOI：
10.1093/oxfordhb/9780198706137.013.18
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发表时间：
2016
期刊：
影响因子：
--
通讯作者：
Cathy Leeney
中科院分区：
文献类型：
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作者：
Cathy Leeney
尽管格雷戈里夫人是修道院的第一批导演之一，也是修道院最受欢迎和最多产的剧作家之一，但在大众的观念中，爱尔兰戏剧一直被视为由男性主导。本章将关键戏剧《凯瑟琳·尼·霍利汉》（由格雷戈里和叶芝合着，但长期以来被认为是叶芝的创作）的作者身份存在争议，作为爱尔兰戏剧中女性衰落的象征，本章讨论了萨拉·奥尔古德等演员以及莉亚·穆尼和谢拉·理查兹等演员兼导演所扮演的重要角色，并认识到爱丽丝等剧作家 米利根、特蕾莎·迪维和多萝西·麦卡德尔是塑造那个时期戏剧风格和关注点的重要人物。由此产生的对这一时期的重新评价有助于我们以不同的方式看待爱尔兰戏剧史，重点关注当时女性经常提出的替代方案。
Although Lady Gregory was one of the first directors of the Abbey and one of its most popular and prolific playwrights, Irish theatre in the popular perception has been seen as dominated by men. Taking the disputed authorship of the pivotal play, Cathleen ni Houlihan (co-authored by Gregory and Yeats, but long attributed to Yeats), as an emblem of this eclipse of women in Irish theatre, this chapter addresses the important part played by actors such as Sara Allgood and actor-directors like Ria Mooney and Shelah Richards, as well as recognizing that playwrights such as Alice Milligan, Teresa Deevy, and Dorothy McArdle were important figures in shaping the styles and concerns of the theatre of the period. The resulting reappraisal of the period helps us to see Irish theatre history differently, focusing on the alternatives so often articulated by women of the time.