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Struggles for recognition: The women...

Maresh, Karin Ann.

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Struggles for recognition: The women artistic directors of Ireland's Abbey Theater (Lady Gregory, Ria Mooney, Lelia Doolan, Garry Hynes).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Struggles for recognition: The women artistic directors of Ireland's Abbey Theater (Lady Gregory, Ria Mooney, Lelia Doolan, Garry Hynes)./
作者:	Maresh, Karin Ann.
面頁冊數:	234 p.
附註:	Source: Dissertation Abstracts International, Volume: 63-01, Section: A, page: 0029.
Contained By:	Dissertation Abstracts International63-01A.
標題:	Theater. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3039501
ISBN:	0493528393

Struggles for recognition: The women artistic directors of Ireland's Abbey Theater (Lady Gregory, Ria Mooney, Lelia Doolan, Garry Hynes).
Maresh, Karin Ann.

Struggles for recognition: The women artistic directors of Ireland's Abbey Theater (Lady Gregory, Ria Mooney, Lelia Doolan, Garry Hynes). - 234 p.

Source: Dissertation Abstracts International, Volume: 63-01, Section: A, page: 0029.

Thesis (Ph.D.)--The Ohio State University, 2002.

This dissertation examines the lives and careers of four important women of the Irish theatre, Lady Augusta Gregory (1852–1932), Ria Mooney (1903–1973), Lelia Doolan (1934– ), and Garry Hynes (1947– ). Each fulfilled the responsibilities of artistic director at the Abbey Theatre at different points in the twentieth century. Gregory co-founded and helped run the theatre for thirty-two years, Mooney served as primary producer from 1948 to 1963, Doolan served as artistic director from 1971 to 1973, and Hynes held the same position from 1991 to 1993. None of the existing histories of the Abbey Theatre gives these women their due credit. Thus, while Irish women playwrights have received considerable attention, Irish women directors are still struggling for recognition.

ISBN: 0493528393Subjects--Topical Terms:

522973
Theater.

Struggles for recognition: The women artistic directors of Ireland's Abbey Theater (Lady Gregory, Ria Mooney, Lelia Doolan, Garry Hynes).
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245 1 0 $a Struggles for recognition: The women artistic directors of Ireland's Abbey Theater (Lady Gregory, Ria Mooney, Lelia Doolan, Garry Hynes).
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500 $a Source: Dissertation Abstracts International, Volume: 63-01, Section: A, page: 0029.
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502 $a Thesis (Ph.D.)--The Ohio State University, 2002.
520 $a This dissertation examines the lives and careers of four important women of the Irish theatre, Lady Augusta Gregory (1852–1932), Ria Mooney (1903–1973), Lelia Doolan (1934– ), and Garry Hynes (1947– ). Each fulfilled the responsibilities of artistic director at the Abbey Theatre at different points in the twentieth century. Gregory co-founded and helped run the theatre for thirty-two years, Mooney served as primary producer from 1948 to 1963, Doolan served as artistic director from 1971 to 1973, and Hynes held the same position from 1991 to 1993. None of the existing histories of the Abbey Theatre gives these women their due credit. Thus, while Irish women playwrights have received considerable attention, Irish women directors are still struggling for recognition.
520 $a This study also compares the careers of Gregory, Mooney, Doolan, and Hynes with those of their male counterparts in the theatre. In Ireland the legal system contributed to the majority of women being unemployed and underpaid in the conservative social, political, and economic climates of twentieth-century Ireland. Yet the Abbey Theatre hired more women into authoritative positions than any other major theatre in Dublin or London. Despite encountering resistance to their leadership, the four women in this study persevered and negotiated careers as directors in a theatre and a country dominated by male influence.
520 $a Each of the women took a different path Gregory became active in Irish theatre in her late forties, after her husband died. Mooney and Doolan were, and Hynes has been, committed to the theatre from their teens. Despite significant differences in their careers these women have a common bond: they have been tenacious, innovative, and dedicated to their craft. Not all of their productions and policies for the Abbey were successful, and two were forced to compromise their artistic goals. However, all four pushed against the traditions of Ireland's National Theatre, helping it survive economic difficulties and changes in artistic policy to evolve into what it is today, a national treasure. Their stories are proof that women have played a key role in the development of the Abbey Theatre.
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