Bibliography
Ruud van den
Beuken s. xx–xxi
2022
article
article
2021
work
edited work
article
Beuken, Ruud van den, “‘Something left over from the Eighteenth Century, undergoing a slow process of decay’: the impotence of the Ascendancy in Mary Manning’s Youth’s the season–? (1931)”, in: David Clare, Fiona McDonagh, and Justine Nakase (eds), The golden thread: Irish women playwrights, vol. 1: 1716–1992, Liverpool: Liverpool University Press, 2021. 185–196.
2020
edited work
article
2018
article
article
Beuken, Ruud van den, “‘Ancient Ireland comes to Rathmines’: memory, identity, and diversity in Micheál macLíammóir’s Where stars walk (1940)”, in: David Clare, Des Lally, and Patrick Lonergan (eds), The Gate Theatre, Dublin: inspiration and craft, Dublin, Oxford: Carysfort Press, Peter Lang, 2018. 47–61.
article
Lally, Des, David Clare, and Ruud van den Beuken, “Appendix A: Gate Theatre chronology (1928-1982): The Edwards-macLíammóir and Longford directorates”, in: David Clare, Des Lally, and Patrick Lonergan (eds), The Gate Theatre, Dublin: inspiration and craft, Dublin, Oxford: Carysfort Press, Peter Lang, 2018. 341–385.
2016
article
Beuken, Ruud van den, “Remembering the drapier and King Dan: the sectarian legacies of Swift and O’Connell in Edward Longford’s Yahoo (1933) and Ascendancy (1935)”, in: Marguérite Corporaal, Christopher Cusack, and Ruud van den Beuken (eds), Irish studies and the dynamics of memory transitions and transformations, 79, Oxford: Peter Lang, 2016. 19–39.
edited work
2015
article
Beuken, Ruud van den, “MacLiammóir’s minstrel and Johnston’s morality: cultural memories of the Easter Rising at the Dublin Gate Theatre”, Irish Studies Review 23:1 (2015): 1–14.
abstract:
This article explores how Micheál MacLiammóir and Denis Johnston attempted to perform cultural memories of the Easter Rising at the Dublin Gate Theatre and thereby articulated their respective views on a colonial past that had to be reassessed anew, on the one hand, and a postcolonial future that still had to be made possible, on the other. By analysing how these two prominent Gate Theatre playwrights sought to commemorate the Rising through mediated performances, this article argues that the Gate Theatre did not simply serve as a playground for disinterested aestheticists but also created a stylised forum where the perceived strain between Ireland's traumatic history and its uncertain future could be addressed and reconfigured into a meaningful teleology. In doing so, this article attempts to demonstrate that the Gate Theatre served as a cultural counterweight to the Abbey's ostensible hegemony as a theatrical force in Irish identity formation.
abstract:
This article explores how Micheál MacLiammóir and Denis Johnston attempted to perform cultural memories of the Easter Rising at the Dublin Gate Theatre and thereby articulated their respective views on a colonial past that had to be reassessed anew, on the one hand, and a postcolonial future that still had to be made possible, on the other. By analysing how these two prominent Gate Theatre playwrights sought to commemorate the Rising through mediated performances, this article argues that the Gate Theatre did not simply serve as a playground for disinterested aestheticists but also created a stylised forum where the perceived strain between Ireland's traumatic history and its uncertain future could be addressed and reconfigured into a meaningful teleology. In doing so, this article attempts to demonstrate that the Gate Theatre served as a cultural counterweight to the Abbey's ostensible hegemony as a theatrical force in Irish identity formation.
