The Internationalist Dramaturgy of Hilton Edwards and Micheál mac Liammóir

Abstract

In part because the Gate explored an experimental dramaturgy, its artistic directors Micheál mac Liammóir and Hilton Edwards often wrote, spoke and advocated for a drama that could move beyond realism. The analysis of Hilton Edwards’s dramatic commentary reaches from his early articles on dramaturgy right up to his encounter with the Berliner Ensemble in 1956 that influenced Edwards’s most elaborate statement on drama, The Mantle of Harlequin (1958). An important part of Edwards’s vision was his cosmopolitanism, his refusal to view drama within a restricted national framework. Nationality, on the other hand, was more important for the self-styled Irishman Micheál mac Liammóir. On close inspection, however, we find that his outlook did not differ much from Edwards’s. Mac Liammóir’s main concern was for Irish(-language) drama to absorb elements from abroad, to escape the straitjacket of Abbey realism and to become distinctive in a global context.

Student Social Conflict Dramaturgy at Universitas Muhammadiyah Makassar

“…The actualization space for actors is the provision of mandates and responsibilities or positions so that they can learn to be responsible and not continue the conflict for the reason of maintaining the good name of the institution or agency, while the role assignment found is placing the person in an urgent position at an activity event (Dean & Markus, 2021;Piedrahita, 2020;Seetoo, 2021).…”