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Recalling the Celtic Tiger


Edited By Eamon Maher, Eugene O'Brien and Brian Lucey

This book looks at various effects, symptoms and consequences of the period in Irish culture known as the Celtic Tiger. It will trace the critical pathway from boom to bust – and up to the current beginnings of a similar, smaller boom – through events, personalities and products. The short entries offer a sense of the lived experience of this seismic period in contemporary Irish society.

While clearly not all aspects of the period could realistically be covered, the book does contain essential information about the central actors, events, themes, and economic trends, which are discussed in a readable and accessible manner. Each entry is linked to the overall Celtic Tiger phenomenon and its immediate aftermath.

The book also provides a comprehensive account of what happened in this period and will be a factual resource for anyone anxious to discover information on the areas most commonly connected to it. All entries are written by experts in the area. The contributors include broadcasters, economists, cultural theorists, sociologists, literary critics, journalists, politicians and writers, each of whom brings particular insights to some aspect of the Celtic Tiger.

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Theatre of the Celtic Tiger (Vic Merriman)


Vic Merriman

Theatre of the Celtic Tiger

The Celtic Tiger economy coincided with a moment of remarkable energy in Irish theatre, marked by vigorous interactions between new and revived plays, their critical reception, scholarly discussion, and diversifying audiences. For most of the twentieth century, the National Theatre Society was uncontested as the fount of Irish dramatic writing, and dramaturgy, production choices, scholarship and critical practice largely reflected this. The founding of Druid Theatre Company (1975) and Field Day Productions (1980) brought new vitality, and made possible the Celtic Tiger’s diverse theatre worlds. The success, artistic integrity, and drive of Druid and Field Day inspired other artists to pursue distinctive aesthetic projects in dialogue with local circumstances, including, among others, Rough Magic TC (Dublin, 1984), Pigsback TC (Dublin, 1988–96), Gallowglass TC (Clonmel, 1990), Island TC (Limerick, 1988–2008), Meridian TC (Cork, 1991–2009), Corcadorca TC (Cork, 1991), and Blue Raincoat TC (Sligo, 1991). Macnas street theatre company (1986) is synonymous with Galway Arts Festival, and Bickerstaffe Theatre Company (Kilkenny, 1994–2001) gave rise to The Cat Laughs comedy festival. In Waterford, Waterford Arts for All, a community arts movement, engendered Red Kettle (1988), and Waterford Spraoi Festival (1993), which nurtured a range of theatre artists, and staged Jim Nolan’s impressive body of dramatic works. Alongside these developments, Field Day (Derry, 1980–2005), Wet Paint Arts (Dublin, 1984–91), Calypso Productions (1991–2007), and Glasshouse Theatre Company (1992–9) articulated a renewed sense of theatre’s socio-cultural purpose...

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