Table Of Content
- About the author
- About the book
- This eBook can be cited
- List of illustrations
- CHAPTER 1 Seizing Yeats: Irish folk-drama in the emergence of Galician theatrical identity
- CHAPTER 2 Synge in the diaspora: The dislocation of the Galician Stage
- CHAPTER 3 Ditea: The theatrical ‘transition’ of Irish Drama in Galicia
- CHAPTER 4 Irish drama and the institutionalisation of theatre practice: The Centro Dramático Galego
- CHAPTER 5 Taming Irishness: Martin McDonagh’s Leenane Trilogy in Galicia
The research process leading to this book was completed thanks to scholarships from the Irish Research Council of Ireland and the Department of Spanish, Portuguese and Latin American Studies, University College Cork; and its publication is funded by the College of Arts, Celtic Studies and Social Sciences and by the National University of Ireland.
I am indebted to Dr Helena Buffery, for her dedication, vision and encouragement. She has been instrumental in bringing this project to life and for that, I thank her wholeheartedly. Every person in the Department of SPLAS has offered helpful advice, practical help and kind words at some point during the project and I am truly grateful for that. I would like to thank very specially Eugenia Bolado, Stephen Boyd, Dr Carlos Garrido and the extraordinary Professor Nuala Finnegan. A special mention goes to Dr Donna Alexander, Dr Cara Levey, Laura Linares and Dr Martín Veiga, for their friendship and generosity.
The insightful comments of Professor María Delgado, Dr Manuela Palacios, Dr Manuel Vieites and Dr Antonio Raúl de Toro Santos have been in my mind and I hope to have done them justice. My gratitude is also to library staff in the Biblioteca de Filoloxía (UDC, A Coruña), the Boole Library, and to Frédéric Antoine (Alliance Française, Dublin), for their readiness to assist with documentary issues.
Many of the materials that I used for my research had to be sourced from private archives or personal collections. I owe a great deal to Alberto Álvarez (Ditea); Rubén González (Producións Excéntricas); translators Alberto Avendaño and Manuel Bermúdez Blanco; scholars Carmen Mejía, Inma López Silva, Iolanda Ogando, Noemí Pazó and Silvia Vázquez Fernández; actresses María Barcala and María Bouzas; directors Quico Cadaval and Xúlio Lago; and all of the practitioners whose willingness to lend their work to scrutiny has made this project possible. In particular, the collaboration of Avelino González has been absolutely vital and I could never thank him enough.←xi | xii→
I would like to express my gratitude to my family and friends, for both their moral and – not least! – practical support: Kathryn Hargrave, for being there hail, rain or shine; my Irish family, the Harringtons; my husband, Ger; and my mother, María Jesús Porteiro. A special thought goes to my mother-in-law, Martina Harrington, a true inspiration, and to my sons.
‘Cando un galego asoma a cabeza para buscar un país no horizonte internacional o primeiro que ve é Irlanda. […] Irlanda é para Galicia […] unha versión aceptable do porvir.’
When a Galician pops his head out looking for a country on the international horizon, Ireland is the first thing he sees. Ireland is for Galicia an acceptable version of the hereafter.
Camilo Franco (2016)
‘We love Ireland’. Author Camilo Franco chose that title for his review of Martin McDonagh’s O tolleito de Innishman (The Cripple of Innishman), staged by Contraproducións in 2016, where he reflected – casually yet purposefully – on the cultural and theatrical relationship with Ireland. He did not hesitate to declare Irish drama ‘un teatro de galegos sen galegos.’ [Galician people’s theatre without the Galician people] (Franco 2016). How did Ireland come to occupy such prominent place in the Galician collective psyche and, specifically, in Galician theatre practice? With the aim of shedding light on dramaturgical understandings and representations of Irishness, this book presents a detailed cultural history of the translation, adaptation and reception of Irish theatre in Galicia that enters into dialogue with a range of different fields: the translation and reception of Irish culture; theatre and performance history; the translation of literature in minority contexts; and approaches to translation for the stage.
The belief in a mythical connection between Ireland and Galicia was forged during the Rexurdimento, the nineteenth-century literary revival not dissimilar to other literary movements rooted in the Romantic reconsideration of national identities. In his 1838 history of Galicia, José Verea y Aguiar attributed the greatness of the nation to its Celtic ancestry (Verea 2001). Celticism seduced poets like Eduardo Pondal, and other ←1 | 2→historians, such as Manuel Murguía and Benito Vicetto, also ‘under the spell of Romanticism’ (Vázquez Fernández 36).1
- XII, 240
- ISBN (PDF)
- ISBN (ePUB)
- ISBN (MOBI)
- ISBN (Book)
- Publication date
- 2021 (March)
- minorised cultures translation Theatre
- Oxford, Bern, Berlin, Bruxelles, New York, Wien, 2021. XII, 240 pp., 20 fig. b/w.