Cover -- Contents -- Acknowledgements -- List of Illustrations -- List of Contributors -- 1. Introduction: A Stage of Emancipation -- Part I: Liberating Bodies -- 2. Queering the Irish Actress: The Gate Theatre Production of Children in Uniform (1934) -- 3. Maura Laverty at the Gate: Theatre as Social Commentary in 1950s Ireland -- Part II: Emancipating Communities -- 4. 'Let's Be Gay, While We May': Artistic Platforms and the Construction of Queer Communities in Mary Manning's Youth's the Season-? -- 5. Images and Imperatives: Robert Collis's Marrowbone Lane (1939) at the Gate as Theatre for Social Change -- 6. Authenticity and Social Change on the Stage in the 1970s: 'Communicating with the People' -- Part III: Staging Minority Languages -- 7. Miche�al mac Liamm�oir, the Irish Language, and the Idea of Freedom -- 8. The Use of Minority Languages at Dublin's Gate Theatre and Barcelona's Teatre Lliure -- Part IV: Deconstructing Aesthetics -- 9. Mogu and the Unicorn: Frederick May's Music for the Gate Theatre -- 10. Tartan Transpositions: Materialising Europe, Ireland, and Scotland in the Designs of Molly MacEwen -- Part V: Contesting Traditions in Contemporary Theatre -- 11. From White Othello to Black Hamlet: A History of Race and Representation at the Gate Theatre -- 12. Bending the Plots: Selina Cartmell's Gate and Politics of Gender Inclusion -- Index.

Uncovering a wide range of marginalised histories of gender, class, language, ethnicity and sexuality, this volume shows how the Dublin Gate Theatre (est. 1928) played various emancipatory roles in Irish culture and society, both under the directorate of its founders, Hilton Edwards and Miche�al mac Liamm�oir, but also in more recent times.

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Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2022. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.