EPUB Accessibility Report

TOC Outline

1. Cover
2. Title page
3. Copyright
4. Dedication
5. Contents
6. Foreword Teresa Deevy: A Journey of Discovery
7. Acknowledgements
8. Notes on Contributors
9. List of Figures
10. List of Abbreviations
11. Teresa Deevy: Life, Scholarship, Practice
12. 1. ‘Why Would Anyone Be Interested in My Old Aunt Teresa?’:1 Illuminating Teresa Deevy’s Legacy
13. 2. The Teresa Deevy Archive and the Development of Collections and Curation in Maynooth University Library
14. 3. TSI: Teresa Deevy, or What Do We Know about [The] Reapers?
15. 4. Mysteries of the Teresa Deevy Archive: Reconsidering the plays of D.V. Goode
16. DEEVY’S IRELAND: A COUNTRY IN CONTEXT
17. 5. ‘Very Seldom Are Messages Properly Given’:1 Teresa Deevy’s Dark Matter
18. 6. ‘I Must Just Make an Opening Elsewhere’: Teresa Deevy’s Involvement with Studio Theatre Practice, 1934–19581
19. 7. ‘It Is Myself I Seen in Her’: Points of Departure in Teresa Deevy’s The King of Spain’s Daughter (1935)
20. DRAMATURGY, GENRE, AND THEORY
21. 8. Finding Money in the Walls: Uncovering the Feminist Power of Teresa Deevy’s Dramaturgy through an Embodied, Practice-Based Approach
22. 9. Becoming a Domesticated Irish Woman: Teresa Deevy’s Critique of Idealised Representations of Womanhood in Katie Roche
23. 10. The Liminal Space of Widowhood in Teresa Deevy’s Wife to James Whelan (1937)
24. PRODUCTIONS AND PRACTITIONERS
25. 11. Teresa Deevy’s Katie Roche: Art, Culture, and Performance
26. 12. Teresa Deevy and Contemporary Performance Practice: Edited Transcript of Teresa Deevy Practitioner Panel Discussion
27. 13. ‘You Can Feel the Change in the Air’: Reflecting on Talk Real Fine, Just Like a Lady, a Shapeshifting of Teresa Deevy’s The King of Spain’s Daughter
28. Index
29. About the team
30. This book need not end here…
31. You may also be interested in:
32. Back cover

Headings Outline

• Contents
• Foreword Teresa Deevy: A Journey of Discovery
  • Marjorie Brennan
  • Bibliography
• Acknowledgements
• Notes on Contributors
• List of Figures
• List of Abbreviations
• Teresa Deevy: Life, Scholarship, Practice
  • Úna Kealy and Kate McCarthy
  • Authors and Chapters
  • Access and Archives
  • Deevy’s Ireland: A Country in Context
  • Dramaturgy, Genre, and Theory
  • Productions and Practitioners
  • Bibliography
• ACCESS AND ARCHIVES
• 1. ‘Why Would Anyone Be Interested in My Old Aunt Teresa?’:1 Illuminating Teresa Deevy’s Legacy
  • Eileen Kearney
  • Bibliography
• 2. The Teresa Deevy Archive and the Development of Collections and Curation in Maynooth University Library
  • Hugh Murphy
  • Bringing Order Out of Chaos: Formulating the MUL Collections Management Policy
  • ‘Outsiders’: Pearse Hutchinson, Ken Saro-Wiwa, and Teresa Deevy
  • The Teresa Deevy Archive
  • Material Documents within the Teresa Deevy Archive
  • Open Access (OA) to Digitised Documents within the Teresa Deevy Archive
  • Conclusion
  • Bibliography
• 3. TSI: Teresa Deevy, or What Do We Know about [The] Reapers?
  • Shelley Troupe
  • The Title
  • The Play
  • The Performance
  • The Influences
  • The Programme
  • The Inconclusive Conclusion
  • Coda, September 2023
  • Bibliography
• 4. Mysteries of the Teresa Deevy Archive: Reconsidering the plays of D.V. Goode
  • Caoilfhionn Ní Bheacháin Mitchell1
  • Redating the Plays: The Blackheath Address
  • Redating the Plays: The Advent of Radio Drama and Reference to Deevy’s 1932 Abbey Prize
  • The Three Plays
  • Provenance and Authorship of the Plays
  • The Penname: D.V. Goode
  • Could (an) Edward Deevy be D.V. Goode?
  • Conclusion
  • Bibliography
• DEEVY’S IRELAND: A COUNTRY IN CONTEXT
• 5. ‘Very Seldom Are Messages Properly Given’:1 Teresa Deevy’s Dark Matter
  • Chris Morash
  • Dot … dot … dot …
  • ‘Exultant’
  • Dark Matter
  • Bibliography
• 6. ‘I Must Just Make an Opening Elsewhere’: Teresa Deevy’s Involvement with Studio Theatre Practice, 1934–19581
  • Úna Kealy and Kate McCarthy
  • Development of Studio Theatre Practice in Ireland
  • New Directions for Deevy in the 1930s
  • Deevy’s Involvement with Studio Theatre Practice in the 1940s and 1950s
  • Conclusion
  • Bibliography
• 7. ‘It Is Myself I Seen in Her’: Points of Departure in Teresa Deevy’s The King of Spain’s Daughter (1935)
  • Willy Maley
  • Careless Talk Costs Little
  • Missing the Boat—and the Point
  • From Christy Mahon to Roddy Mann
  • Speech Acts
  • Bibliography
• DRAMATURGY, GENRE, AND THEORY
• 8. Finding Money in the Walls: Uncovering the Feminist Power of Teresa Deevy’s Dramaturgy through an Embodied, Practice-Based Approach
  • Ann M. Shanahan
  • Style, Setting, and the Personal in Deevy’s Dramaturgy
  • Applying Practice-Based Analysis of Plays about Women and Houses to Deevy’s Work
  • Deevy’s Use of Domestic and Liminal Spaces and Material Objects
  • Embodied Meta-Audiences
  • Strange Birth and Light Falling
  • Conclusions
  • Bibliography
• 9. Becoming a Domesticated Irish Woman: Teresa Deevy’s Critique of Idealised Representations of Womanhood in Katie Roche
  • Dayna Killen and Úna Kealy1
  • The Domesticated Irish Woman
  • Katie Roche: A Critique of Representations of Irish Womanhood
  • Conclusion
  • Bibliography
• 10. The Liminal Space of Widowhood in Teresa Deevy’s Wife to James Whelan (1937)
  • Christa de Brún
  • Bibliography
• PRODUCTIONS AND PRACTITIONERS
• 11. Teresa Deevy’s Katie Roche: Art, Culture, and Performance
  • Cathy Leeney
  • Katie Roche in 1994 at the Peacock Theatre26
  • Katie Roche in 2017 at the Abbey Theatre35
  • Bibliography
• 12. Teresa Deevy and Contemporary Performance Practice: Edited Transcript of Teresa Deevy Practitioner Panel Discussion
  • Jonathan Bank, Caroline Byrne, Amanda Coogan, and Lianne Quigley1
  • Bibliography
• 13. ‘You Can Feel the Change in the Air’: Reflecting on Talk Real Fine, Just Like a Lady, a Shapeshifting of Teresa Deevy’s The King of Spain’s Daughter
  • Amanda Coogan, Alvean Jones, and Lianne Quigley
  • Bibliography
• Index
• Contents
  • Landmarks