Princeton University Library Chronicle 2006 - 2007: Vol 68 Index

2.7 MB·English

Index to Volume LxXVIII
(le 2006a-,2 007)wy
Page numbers in italic indicate illustrations. Roman numerals identify the issue
1-11 = Autumn—Winter; 111 = Spring
Abbey Theatre: as antidote to “stage Andersen, Hans Christian: impedi-
Irishness,” 1—11:34; artistic direction ments facing translators, illustrators,
in 21st century, I-11:575-78, 581-82, and readers of his works, 111:851—79
583-84, 593-97; costume and set works: “The Emperor’s New
designers, 1—11:163—99; early schism, Clothes,” 111:863, 869, 872, 875,
1—11:136; financial difficulties, 1 876, 877; “The Little Match Girl,”
11:33, 575, 583; founders’ ambitions, 11:859; “The Little Mermaid,”
I-11:590—93, 597-98; institutional 111:859, 860878 79; “The Princess
history, 1-11:196, 585, 586—g0; intro- and the Pea,” 111:856, 857, 869, 870
duction of non-Irish plays, 1-11:192; 71; “The Red Shoes,” 111:855; “The
and “kitchen naturalism,” 1—11:601 Snow Queen,” 111:864—65, 866, 868,
2, 605; original physical layout, 1 , 878, plate 2; “The Tinder-Box,”
11:179-80 56, 860, 861, 865-67, 867
adult agency in children’s books and Ardizzone, Edward, illustration for
toys, 111:748 H. C. Andersen, 111:865-—67, 867
“Acknowledging Artisans and a New
Social Order in Abbé Pluche’s Specta Baker, Hobey, cartoon about his hockey
cle de la nature,” by CynthiaJ . Koepp, feats, III: 1025
111:791-815 Barbauld, Anna, 111:820, 832, 8 33,
“The Afterlife of The Quare Fellow,” by 98o
Colbert Kearney, 1—11:488—502 Barnes, Djuna, writings on and in imi-
Albee, Edward, “Samuel Beckett,” 1 tation of Synge, I-11:313-14
11:429-30 Barry, Sebastian “Lies and More Lies,”
Album illustré du cortége historique, 111:1013 I—11:640 48, poetry, I 11:049-51
Allgood, Sara, 1—11:231, 237; as First PLAYS: Boss Grady’s Boys, 1 11:651—54;
Musician in first three productions of
Fred an d Jane, 1 II 664 05; The Only
Yeats’s Deirdre, 1-11: 210-17, 219, 220, True History of Lizzie Finn, 1-11 odD0
229, 230; performance as Cathleen ni 64; Prayers of Sherkin. 1 11:654-58;
Houlihan, 1~—11:172, 174; rivalry with The Stewarodf Christe ndom, 1 11:647;
sister (O'Neill), 1 11:239 40, 243; Whistling Psyche, 1 11:605-70, 600;
stars in fourth production of Yeats’s White Woman Street, 1—-11:658—60
Deirdre, 1—11:234~—39; writes musicians’ Basedow, Johann Bernhard: Elementar
song for revival of Detrdre, 1—11:225, werk, 111:969—70, 980; his system of
226, 247; and Yeats’s chanted dra- educational reform (philanthropism),
matic verse, 1—-11:206, 227 111:978-81
/
Beardsley, Aubrey, illustrations for Bo, Lars, aquatints for “The Snow
Wilde’s Salome, 1-11:64, 65, 66 Queen,” 111:877, 878
Beckett, Samuel: and exile from Ireland, Bohman-Kalaja, Kimberly, “Play-
I—11:429-34, 450-53; and existen- ing the Spectator While Waiting for
tialism, I-11:435; and game struc- Godot,” 1—11:465-87
tures, 1-11:465—87; and Jack Yeats, Boretti, Valentina, “Purposeful Leisure:
I—11:401, 458; on Joyce, I-11:433-34; Aspects of Toy Discourse in Republi-
and representation of age in drama, can China,” 111:881—g908
I-11°434—49 Boucicault, Dion, 1—11:47; critical evalu-
PLAYS: All That Fall, 1—11:461—62; ations of, 1 11:33-35, 37 43-445
Endgame, 1—11:442-44, 443, 678-79; early career, I-11:37—42; and early
Eleutheria, 1-11:453-58; Film, 1 cinema, I—11:37, 47-49; film adapta-
11:445-46; Footfalls, 1-11:462—63; Play, tions of his plays, 1-11:50—59, 57; and
1-11:445; Waztinfgo r Godot, 1-11:191, new staging techniques, 1—11:38—40,
441-42, 459-61, 465-87. 42-43, 47-49
“Beckett and the Representation of Age PLAYS: Arragh-na-Pogue, 1-11:44, 47
on Stage,” by Christopher Murray, 48; The Colleen Bawn, 1—11:36, 42-43;
I-11:431-49 The Shaughraun, 1-11 : 33, 44-46, 45
Behan, Brendan: British versus Irish “Brand Abbey,” by Patrick Mason, 1
critiques of his work, 1-11:506—7; and 11:583-98
the carnivalesque, I—11:491-92, 493, Briggs, Raymond, illustration for H. C.
497, 499, 501; and Irish-language the- Andersen, 111:869, 877
ater, I 11: 109 10, III Brooke, L. Leslie, illustration for The
PLAYS: The Hostage, 1—-11:110—11, 506 Three Little Pigs, 111:957
7; The Quare Fellow, 1—-11:110, 488
592; 494-95 Cadden, Michael: “Cover Note,” 1
“Being Afraid to Breathe,” by Ronan 11:729—31; “Homosexualizing the
Noone, 1—11:614-19 Troubles: A Short Query into Two
Bender, Abby, “Lady Gregory’s Bible Derry Airs by Frank McGuinness,”
Lessons: The Deliverer and The Story 1—11:560—71; “Violence, Storytelling,
Brought by Brigit,” 1-11:142—62 and Irish Aesthetics: A Theater-
Bewick, John: wood engravings adapted goer’s Guide to Martin McDonagh,”
from Chodowiecki, 111:969—-78, 971 1—11:671-83
72, 974-76, 978; wood engravings in- Campbell, Mrs. Patrick, star of third
spired by other sources, 111:970, 971 production of Yeats’s Deirdre, 1
Biggs, Murray, “Rhetoric and Silence 11:229 33, 231, 251
in Six Plays by Sebastian Barry,” 1 carnivalesque, Irish dramatists and the,
11:649-70 I-11:284, 491-92, 493, 497, 499,
Blake, William, engravings adapted 501
from Chodowiecki, 111:974, 999 Carr, Marina: and influence of Beck-
Blunt, Wilfrid Scawen, affair with and ett, I-11:705—6; and landscape in her
influence on Lady Gregory, 1—11:115, plays, I-11:714—19; and posthuman-
128, 130 ism, I-11:706-7
Blythe, Ernest, 1-11:585, 600-601, 612; PLAYS: Ariel, 1-11:712; By the Bog of
and Irish-language theater, 1—11:107 Cats, 1-11:711—12, 716; The Mai, 1
108, 109 11:708—11; On Raftery’s Hill, 1-11:717;
1074
Phaedra Backwards (draft), 1-11:722 Darton and Harvey, publisher of works
28; Portia Coughlan, 1-11:711; Woman by Ellenor Fenn, 111:818, 843~—44,
and Scarecrow, 1—11:712—14, 717-18 845-46, 847
censorship, in Britain and Ireland, Daughters of Erin, and Irish-language
I—11:275-79, 289, 293-94, 432, 601, drama, | 11:94-95
603-4 Davis, Wes, “Writing in Sand: The
“Censorship and Self-Censure in the Dramatic Art of Jack B. Yeats,” 1
Plays of J.M . Synge,” by Ben Levitas, 11:399-420
I—11:271 94 de Valera, Eamon, and Irish-language
change packets, English, 111:7008, 1009 education, 1—11:106
“The Chanting of Yeats’s Deirdre,” by Denisovsky, Nikolai, illustrator of Maia-
Ronald Schuchard, 1 I1:201—52 kovskii’s What Is Good, 111:924, 925,
“Character, Writing, and Landscape in 927-29, 931-32, 934-35» 937
Woman and Scarecrow and Other Plays Description of a Slave Ship, 111:1027, 1028,
by Marina Carr,” by Cathy Leeney, 1029
I—11:705-19 “Designing Ladies: Women Artists
China: children as rescuers of the na- and the Early Abbey Stage,” by Ann
tion, 111:885-86, 896-97, go2; and Saddlemyer, 1—11:163—99
potential dangers of foreign toys, Dewey, John, influence in China,
I11:g02—4; rejection of traditional 111:886n.22, 891
toys and education, 111:886—87, 888, “Dion Boucicault, Staging, and Early
892-93, 904-5; scientific toys for Cinema,” by Kevin Rockett, 1—11:33
children, 111:896—99, 898; theories of 59
childhood and play, 111:882—g0; toys Donne, John, poems on Ireland, 1—11
and education of the “new” child, 308-9
889-90, 892, 892-96, 895, 896, 899 Donoghue, Dennis, his conceptual cat-
g02, 906-8; toys perceived as nation- egories of literary criticism applied
building tools, 111:880, 881, 882, 8go, to illustrators of H. C. Andersen,
897, gO! 111:872-79
Chodowiecki, Daniel Niklaus, 111:994, Doré, Gustave, illustration for Little Red
996; designer of copperplate engrav- Riding Hood, 111:947
ings for Elementarwerk (Basedow), Douglas, Alfred Bruce, Lord, and trans-
111:969-72, 971-72, 974-76, 978; de- lation of Wilde’s Salome, 1—11:60—61,
signer of copperplate engravings for 64, 68-70
Moralisches Elementarbuch (Salzmann), Douzou, Olivier, Loup, 111:940, 941, 959
111:9997,7 9948,, 9 99 Dublin Drama League, 1—11:188, 192
Craig, Edward Gordon, and stage de- Dulac, Edmund: illustration for H. C
sign, I-11:174, 175, 185, 195 Andersen, 111:864, 874, 875, plate 2;
Crane, Walter, Little Red Riding Hood, music and costumes for Abbey The-
111: plate 3 atre productions, 1—11:163, 246
Dunsany, Edward Plunkett, Baron, pro-
Daniel, Anne Margaret, “Lost in Trans- duction of his plays in New York,
lation: Oscar, Bosie, and Salome,” I—11:317—22
I—-11:60—70 PLAYS: The Glittering Gate, 1 11:317;A
Darragh, Letitia, star of first production Night at an Inn, 1 11:317, 318, 319-20;
of Yeats’s Deirdre, 1-11:216, 219, 221 The Queen’s Enemies, 1-11:320—22
1075
“Eighteenth-Century Flap Books for 832, 842-43, 850, 980; philanthropic
Children: Allegorical Metamorphosis activities, 111:837—39, 840, 846;
and Spectacular Transformation,” by popularity of her works, 111:847—49;
Jacqueline Reid-Walsh, 111:751—89 works for children written as Mrs.
Ellender, Elizabeth, illustration for Lovechild, 111:876, 838, 840-46, 844;
H. C. Andersen, 111:865, 866 works for children written as Mrs.
“Ellenor Fenn as ‘Mrs. Teachwell’ and Teachwell, 111:821—36, 827, 830-31
“Mrs. Lovechild’: A Pioneer Late Fenn, John, 111:819—20, 837
Eighteenth-Century Children’s Field Day Theatre Company, 1—11:566,
Writer, Educator, and Philanthro- 572-74, 578-81
pist,” by David Stoker, 111:817—50 flap books, 111:762—64, 766—69, 774,
Elmer Adler Undergraduate Book Col- 777, 781, 784, plate 1; construction of,
lecting Prize, award for 2007, 111:961 111:752 53; harlequinades, 111:771
62 86, 787 88; and modes of reading,
Emery, Florence Farr. See Farr, 111:770—-71, 773; 775, 778, 783, 785
Florence 88; moralizing messages to girls ver-
sus boys, 111:758, 760-70; as multi-
“Faith Healer Comes to New York,” by media presentations, 111:751—52,
Brian Friel, 1—-11:516—18 788-89; relation to emblem books,
Farquhar, George, 1—11:25; Love and a 111:755 71, 786-87; relation to the-
/ /
Bottle, 1-11:23—32 ater, 111:753, 770 7/ 24 ; 7735 775-79,
Farr, Florence, 1—11:175: and chanted 778-79, 785, 786, 787, 788
verse, I-11:203—5, 206-7, “The ‘Folk’ and an Irish Theater: Re-
230; and Dolmetsch psaltery, 1 ReadingJ . M. Synge’s The Playboy of
11:167, 205, 226; final lecture-recital the Western World,” by Lionel Pilking-
with Yeats, I-11:244; as First Musi- 11:295-305
ton, I
cian in fifth production of Yeats’s Friel, Brian, 1-11:573; and Ballyberg,
Deirdre, 1 11:240—43; music for Yeats’s I—1I:510—12, “Faith Healer Comes to
plays, 1-11:226—27; musicians’ songs New York,”1 11:516-18
arranged for Yeats’s Deirdre, i—11:210 PLAYS: The Loves of Cass McGuire, 1
11, 247; and theatrical collaborations 11:312—13; Philadelphia, Here I Come!
with W. B. Yeats, 1-11:166, 168, 169, I-11:312, 511, 604—5; Living Quarters,
203 11:511—12; Translations, 1-11: 520
Fay, Frank, 1-11:260; break with Abbey 572-74 5793 Volunteers, 1—11:507—8
Theatre, 1-11:228—29; and first pro- Frébel, Friedrich, 111:978; influence in
duction of Yeats’s Deirdre, 1-11:216 China, 111:891; kindergarten curricu-
17, 219; and Irish-language drama, lum, 111:1000
I-11:95, 96-97, 170, 171; and Yeats’s
chanted dramatic verse, 1—11:206, Gaelic League: and Irish-language liter-
214, 221 ature, I 11:88, g2, 99, 102, 106; and
Fay, William: on first production of origins of Irish literary theater move-
Yeats’s Deirdre, 1 11:219; and Irish- ment, I 11:295
language drama, I—11:95, 170, 171 Gate Theatre, 1 11:108, 192, 196;
Fenn, Ellenor: early life and marriage, American tour (1948), 1-11:306;
111:818—21; innovative teaching tech- and production of non-Irish drama,
niques and philosophy, 111:826—29, I—11:603
1070
Globe Theatre Company, 1—11:603, 604 Harris, Susan Cannon, “Red Star ver-
Goldman, Michael, “Shavian Poet- sus Green Goddess: Sean O’Casey’s
ics: Shaw on Form and Content,” The Star Turns Red and the Politics of
I—-11:71-81 Form,” 1—11:357-98
Gonne, Maud, 1—11:127, 132; and Hauff, Wilhelm, “Der Zwerg Nase,” il-
Daughters of Erin, 1—11:94, 95; per- lustrated by D. Fohr, 111:992
formance as Cathleen ni Houlihan, Hickey, Tom, 1—11:443, 627, 633; “Tom
I—11:171, 172 Mac Intyre: Border Country Bandit,”
Gregory, Lady (Isabella Augusta), I—11:632—39
I—11:117, 129; and Abbey Theatre Holloway, Joseph: on Yeats’s chanted
schism, 1—11:136; and biblical influ- dramatic verse, I-11:214, 216-18,
ences, I-11:142—44, 162; biography, 220, 249; on Irish-language theater,
I—II:115—24, 127-29; and the Celtic I—11:109; promotes Allgood to star in
revival, 1 11:116, 118, 126-27 » 192, Deirdre, 1-11:233-34
133-34, 135; and Irish-language lit- Commentary on individual plays: Cathleer
erature, I—11:g0, 105; performance ni Houlthan (Lady Gregory/W. B
as Cathleen ni Houlihan, 1—11:773; Yeats), I—11:171, 175; The Countes
publications, 1—11:118, 125; revisions Cathleen (Lady Gregory W. B. Yeats),
to her autobiography, 1—11:119, 721; 1—11:168; Deirdre Yeats), I-11:219
and stage design, 1-11:184-87 , 2> 33, 2> 3 36, 238,
5
PLAYS: Aristotle’s Bellows, 1 11, 184 239, 241, 242, , 248; The Deliverer
85; Cathleen ni Houlthan (with W. B. Lady Gregory), I—11:150-51 Diar
Yeats), 1-11:125, 171; The Countess muid and Grania (G Moore
Cathleen (with W. B. Yeats), 1 II: 106, W. B. Yeats), 1-1 170; The Heather
168; Dave, 1-11:186—87; The Deliverer, Field Martyn), 1-11 106
I—11:144-53; The Dragon, 1-11 “Homosexualizing the Troubles: A Short
The Golden Apple, 1-11:185; Aincora, Query into Two Derry Airs by Frank
I—11:135-38; Spreading the News, 1 McGuinness,” by Michael Cadden,
11:187; The Story Brought by Brigit, 1 I—11:500-7I
41, 155-62, 185; Twenty-Five, Horniman, Annie Elizabeth Freder-
I 7134, 105 icka, 1-11:176, 187; costume designer
Gregory, Robert, as theater designer, for playsb y W. B. Yeats, 1-11:174-78,
I-11:184, 219 177; patron ol Abbey Theatre, 1
Grene, Nicholas, “Irish Drama and the 11:174 1, 178, 150-51, 201, 216, 223
Occlusion of Influence,” 1—11:503 Hunt, Hugh: on Boucicault, 1—11:34
p15 35: director of Abbey Theatre, 1
Grobe, Christopher, “Love and Loneli- 1:192, 587, 5 88: produc er of revival
ness: Secular Morality in the Plays of of Deirdre Yeats), 1-11:248, 249, 250;
Conor McPherson,” 1—11:684—704 and set design, I-11
Hyde, Douglas, 1-11 195; and
harlequinades. See flap books Irish-language literature, 1—11:88
Harrington, John, “New World Drama: 98-99
Fashioning Irish Theater in Lower AYS: Casadh an tSugain, 1
Manhattan,” 1-11:306-—26 , 171, 194; Pleusgadh na Bu
Harris, John, publisher of works by El- QoQ; in Poésadh, 1-11
lenor Fenn, 111:818, 845-46, 847-48
Hynes, Garry, “Speaking of Translations: Joseph, Michael, “Seeing Andersen as
A Conversation with Garry Hynes He Isn’t,” 111:851—79
and Emily Mann,” 1—11:519—25 Joyce, James, 1-11:58, 59, 400-401, 536,
694, 700-701; Beckett on, 1-11:433
Immel, Andrea: “Introduction,” 34; critique of Irish Literary Theatre
111:747—49; “The Shady Business of productions, 1—11:95—-96; Neighbor-
Enlightenment: John Trusler’s Prog- hood Playhouse production of his
ress ofM an and Johann Basedow’s Ele- Exiles, 1-11:3.24-25
mentarwerk,” 111:g69—-86
“In MemoriamJe:an F. Preston,” by Ben Kearney, Colbert, “The Afterlife of The
Primer, 111:987—89 Quare Fellow,” 1-11:488—502
“In the Beginning: George Farquhar’s Key, Ellen, influence in China, 111:891
First Play, Love and a Bottle,” by Frank Kiberd, Declan, “On Baile’s Strand: W. B.
McGuinness, I—11:23-32 Yeats’s National Epic,” 1-11:261—70
“Introduction,” by Andrea Immel, Kilroy, Thomas, “A Personal View of
111:747—49 Theater,” 1-11:599—608
Ireland: and American cultural percep- Koepp, Cynthia J., “Acknowledging
tions, I-11:310—15, 317; and the fash- Artisans and a New Social Order in
ioninogf identity, 1-11:307—10 Abbé Pluche’s Spectacle de la nature,”
“Trish Drama and the Occlusion of Influ- 111:791-815
/
ence,” by Nicholas Grene, 1—11:503
515 Laboureur, Jean-Emile, Le Collectionneur
Irish-language drama: before the 1890s, Alponse Lotz Brissonneau, 11: 1011
1—11:82—87; and the Celtic revival, “Lady Gregory’s Bible Lessons: The De
1—11:87—106; since the Civil War, liverer and The Story Brought by Brigit,”
I—11:106-14 by Abby Bender, 1—11:142—62
Irish Literary Theatre, 1—11:90, 92; “Lady Gregory’s Erasures,” by Colm
staging of early productions, 1—11:166, Tobin, 1-11:115-24
168—69 “Lady Gregory: Talking with the Dead,”
Irish National Dramatic Society, 1 by Robert Welch, 1—11:125-62
11:170—71 Lagerfeld, Karl, illustration for H. C.
Irish National Theatre Society, 1 Andersen, 111:869, 872, 874, 875
11:165—-66 Larkin, James, Irish labor leader: his
Irish theater: in America, I—11:307, influence on O’Casey, 1—11:362, 363,
313, 315-26; foreign influences on, 364-65, 368-69, 375-77, 381-82
I—11:505-14, 600, 605-7; images Leeney, Cathy, “Character, Writing,
of America in, 1—11:312—13; institu- and Landscape in Woman and Scare
tional versus vernacular, 1-11: 296 crow and Other Plays by Marina
97, 305; Lady Gregory on origins of, Carr,” 1-11:705-19
I—11:295; stereotypionfg, 1—11:505-7, Lefler, Heinrich, illustration for H. C.
514715 Andersen, 111:875, 876, 877
Irish wake, 1-11:304, 305; in plays and Leonard, Hugh, Stephen D, 1-11:604—5
films, 1-11:46, 56-58, 499 Le spectacle de la nature (Pluche), 111:798,
805, 812, 832; critique of traditional
Johnston, Denis, The Old Lady Says “No!” social order, 111:794, 798-806; es-
I—I1:192, 306 teem for artisans and technology,
1078
111:792—94, 797-99, 814-15; popu- Mann, Emily: “Phaedra Backwards: Ex-
larity of, 111:792, 814; proposes new cerpts from a New Play by Marina
social order, 111:806—13; reinterpreta- Carr,” 1-11:720—21; “Speaking of
tion of Adam’s fall, 111:795—-97 Translations: A Conversation with
Levitas, Ben, “Censorship and Self- Garry Hynes and Emily Mann,” 1
Censure in the Plays ofJ .M . Synge,” 11:519-25
I—11:271—94 Marshall, John, publisher of works by
“Lies and More Lies,” by Sebastian Ellenor Fenn, 111:817, 820-21, 826,
Barry, 1-11:640—48 827, 829, 832, 839, 841
“Lines for the Centenary of the Birth Martin, Richard P., “Upstaged: Irish
of Samuel Beckett (1906—1989),” by Drama in Irish,” 1—11:82—114
Paul Muldoon, 1—11:427 Martyn, Edward, 1—11:119, 169, 204;
The London Guide, and Stranger’s Safeguard, and Irish-language drama, I—11:90.
111:1036, 1037, 1038 Mason, Patrick, “Brand Abbey,” 1
“Lost in Translation: Oscar, Bosie, and 11:583-98
Salome,” by Anne Margaret Daniel, May, Frederick, 1-11:248, 609-13
I—11:60—70 Mayer, Olga, volumes of handcrafts,
“Love and Loneliness: Secular Morality 111:1000, 1001, plate 4
in the Plays of Conor McPherson,” McCracken, Henry Joy, rebellion
by Christopher Grobe, 1—11:684—704 leader as protagonist of Vorthern Star
Parker), 1—11:548—49
MacAnna, Tomas, artistic director of McDonagh, Martin, 1—11:296; and Irish
Abbey Theatre, 1—11:588—89, 602 authenticity in his plays, 1-11:672—74,
MacDonagh, Thomas, 1—11:102, 729; 075
on Irish-language plays, 1—11:104; on PLAYS: The Cripple of Inishmaan,
Yeats’s chanting, I—-11:213 1—11:671—72; Leenane Trilogy, 1
Mac Intyre, Tom, 1—11:632—39; The 11:674—75; The Lieutenant of Inishmore,
Great Hunger, 1—-11:632—35, 633 1—11:675~—76; The Pillowman, 1—-11:676
Mac Liamméir, Micheal, 1—11:306; 82
Gate Theatre founder and designer, McGuinness, Frank, “In the Beginning
1~11:192; and Irish-language theater, George Farquhar’s First Play, Love
I—I1:107 , 108 and a Bottle,” 1-11:23—32
PLAYS: Diarmuid agus Grainne, 1 PLAYS Carthaginians, 1—11:563-71;
11:108; Where Stars Walk, 1-11:306 Observe the Sons of Ulster. 11:508,
Maiakovskii, Vladimir: his books for 501 03
children as avant-garde experiments, McGuinness, Norah, stage designs, 1
111:g09~—39; and the molding of the II: Ig0-9I1
Soviet child, 111:936, 938; view of McMullan, Anna, “Samuel Beckett’s
himself as moral guide and inspira- Theater: Liminal Subjects and the
tion for children, 111:909, 910, 911, Politics of Per eption,” I—11:450
64
939
worRKs: For the Voice, 111:913, 916; Not McPherson, Conor, and morality in
a Page without an Elephant or a Lioness, modern Ireland, 1—11:685—704
111:913-24; This Is My Book, 111:g09, PLAYS: Dublin Carol, 1-11:686-—87;
glo 11; What Is Good and What Is The Good Thief, 1—11:68q—90; Port
Bad? 111:924-38 Authority, 1-11:685—-86; Rum and Vodka,
1079
McPherson, Conor (cont.) Murray, Christopher: “Beckett and the
1-11:688, 689, 692-93; This Lime Tree Representation of Age on Stage,” 1
Bower, i--11:689, 691, 692; St. Nicholas, 11:431—49; editorial notes to The Coo
1-11:697—700; Shining City, 1-11:693 ing of Doves (O’Casey), 1-11:337-56;
94; The Weir, 1-11:514—-15, 701-3 “Sean O’Casey’s The Cooing of Doves:
Merry, John, publisher of flap books, A One-Act Play Rediscovered,” 1
HI?755, 775 11°327-35
Milberg, Leonard L., “A Present for
Paul,” 1—-11:21—22 Neighborhood Playhouse (New York):
Miller, Arthur, and the representation and production of Irish plays, 1
of age in drama, I—11:436-37 11:315~-26; parodies of Shaw and
Milligan, Alice, and Irish-language lit- Yeats, I-11:323-24
erature, I—I1:g1 Newbery, Elizabeth, publisher of works
PLAYS: The Deliverance of Red Hugh, by Ellenor Fenn, 111:818, 840—41,
1—-11:9Q44; The Last Feast of the Fianna, 1 843, 845
11:169—70; Passing of Conall, 1—11:105 “New World Drama: Fashioning Irish
Mitts-Smith, Debra, “The Wolf: Dan- Theater in Lower Manhattan,” by
ger and Deception in Three Tales,” John Harrington, 1—11:306—26
III-941—59 Nic Shiubhlaigh, Maire (Maire or Mary
Moiseiwitsch, Tanya, set designer at Walker), 1—11:105; in Russell’s Deirdre,
Abbey Theatre, 1—11:193—-95 I~11:219; and Yeats’s chanted verse
Montessori, Maria, influence in China, drama, I—11:214
111:891 Nielsen, Kay, illustration for H. C. An-
Mooney, Ria: First Musician in re- dersen, 111:869, 870, 874
vival of Deirdre (Yeats), 1-11:248; as Nightingale, Florence, as protagonist in
teacher, director, and designer at Whistling Psyche (Barry), 1-11:665~—70
Abbey Theatre, 1-11:196, 198 Noone, Ronan, “Being Afraid to
Moore, George, 1—11:92; collaboration Breathe,” 1—11:614-19
with W. B. Yeats, 1—-11:118, 120, 170,
206 O’Casey, Sean, 1~-11:336; and Commu-
More, Hannah, 111:838, 841 nism, I-11:358—60, 378, 381, 383;
Muldoon, Paul, “Lines for the Cente- and Irish labor politics, 1-11:359,
nary of the Birth of Samuel Beckett 361-69, 375-77, 380, 382-86; and
1906—1989),” 1-11:427—28 realism, I 1—11:367—68, 369, 370-71,
Murphy, Tom, 1—11:503-504, 505, 372-73, 379-80, 386, 388-89, 392;
620-31 and representation of age in drama,
PLAYS: Bailegangaire, 1-11:628—29; I-11:440-41
Conversations on a Homecoming, 1 PLAYS: The Cooingo f Doves, 1—11:327
11:616—17; The Gigli Concert, 1-11:503, 56, 345; The Crimson in the Tricolour,
626-28, 627; The House, 1—11:629 I-11:328, 366-67; The Harvest Festi
30; The Morning after Optimism, val, 1-11:365—66; Juno and the Paycock,
1—11:625; On the Outside (with Noel I—11:139, 141, 363, 369, 372; Aath
O’Donoghue), 1—11:602, 620-21; leen Listens In, 1-11:327, 328-29, 333;
The Sanctuary Lamp, 1-11:513, 625 The Plough and the Stars, 1—11:179n.15,
26; A Whistle in the Dark, 1-11:504, 327, 328, 330, 331, 333-34, 363; Red
623-24 Roses for Me, 1-11:365, 376; Shadow of
1080
a Gunman, 1—11:363; The Silver Tassie, Rado Pictures, 1-11:532—33; Spokesong,
I—11:334, 357; The Star Turns Red, 1 I-11:542-—46
11:358—61, 365, 367, 380-98; Within Parnell, Charles Stewart, as subject of
the Gates, 1-11:378-80 plays by Lady Gregory, 1—11:144-53,
OTHER WORKS: “The Garland,” 155
I—11:373-74; “Gold and Silver Will Payne, Ben Iden, director of revival of
Not Do,” 1~11:374; “Green Goddess Yeats’s Deirdre, 1-11 7223-20, 228
of Realism,” 1 11:370 71; “Theatre Peacock Theatre, 1—11:192, 585
and People,” 1—11:377—78; “The Star- Pearse, Patrick, 1-11:153—55, 160-61;
Jazzer,” 1-11:371-73 and Irish-language literature, 1
O’Connor, Frank, director of Abbey Il: 100-102
Theatre, 1-11:247—48, 250, 585, 592, Perrault, Charles, critical approaches to
597 his stories, 111: 1068-72
O Duibhne, Cormac, “ ‘Talk about the “A Personal View of Theater,” by
play!’ An Interview with Stephen Thomas Kilroy, 1 11:599-608
Rea,” 1-11:572-82 “Phaedra Backwards: Excerpts from a New
“On Baile’s Strand: W. B. Yeats’s National Play by Marina Carr,” by Emily
Epic,” by Declan Kiberd, 1—-11:261 Mann, I—11:7 20-21
philanthropism. See Basedow, Johann
70
O'Neill, Molly (Maire), 1-11:399-400, Bernhard: his system of educational
439; as First Musician in Yeats’s Deir reform
dre, 1—11:235, 236; stars in fifth pro- Pike Theatre, 1 11:488, 603
duction of Yeats’s Deirdre, 1—11:239 Pilkington, Lionel, “The ‘Folk’ and an
44; and Yeats’s chanted dramatic Irish Theater: Re-Reading J. M
verse, I 11:2060, 231 Synge’s The Playboy of the Western
World,” 1-11:295-305
Pankenier, Sara, “‘Uncle Lighthouse’: “*Players and painted stage took all my
The Authorial Presence in Vladimir love’: The Leonard L. Milberg Irish
Maiakovskii’s Books for Children,” Theater Collection,” by Shirley M
I1l:GO0Q-39 Filghman, 1-11: I1g-20
Parker, Stewart, 1—-11:529; relationship “Playing the Spectator While Waiting
with Belfast, 1-11:526—59; on the role for Godot,” by Kimberly Bohman-
of the dramatist amid the Troubles, Kalaja, 1 11:465 87
I—11:533; his work for the BBC, 1 Pluche , Noél-Antoine, 111:7g90. See also
11:530, 531, 534-36; his work for the Le spectacle de la nature
Northern Ireland Schools Depart- Plunkett, Grace Gifford, 1 11:729-31
ment, I 11°537 39, 544 “A Present for Paul,” by Leonard L. Mil-
PLAYS: Catchpenny Twist, 1-11:532; berg, I-11 :21—22
The Iceberg, 1—-11:539—-42; I’m a Dreamer, Preston, Jean F., 111:988; memorial for,
Montreal, 1 11:531 32; Iris in the Traffic, 111:987 80
Ruby in the Rain, 1-11:535-36; Joyce in Primer, Ben, “In MemoriamJe:a n F
June, 1-11:536; The Kamikaze Ground Preston,” 111:987—89
Staff Reunion Dinner, 1—11:534; Aing The Progress of Man (Trusler : and En-
dom Come, 1—11:533-34; Lost Be glish-German literary relations,
longings, 1-11:534—35; Northern Star, 111:982—84; extent of ideas copied
I~11°547 53; Pentecost, 1 11:552 59; from Elementarwerk (Basedow),
1081
The Progress of Man (‘Trusler) (cont.) jects and the Politics of Perception,”
111:978, 979-82; illustrations adapted by Anna McMullan, 1—11:450—-64
by Bewick from Chodowiecki, Sayer, Robert, publisher of flap books,
111:969-78, 985-86 11177555» 7275,» 783-85
“Purposeful Leisure: Aspects of Toy Dis- Schuchard, Ronald, “The Chanting of
course in Republican China,” by Val- Yeats’s Deirdre,” 1-11:201—52
entina Boretti, 111:881—908 “Sean O’Casey’s The Cooing of Doves: A
One-Act Play Rediscovered,” by
Raftery, Anthony, I—11:90, 92, 98, 125 Christopher Murray, I—11:327-35
27 “Seeing Andersen as He Isn’t,” by Mi-
Rea, Stephen, 1—11:573; interviewed chael Joseph, 111:851—79
about Field Day Theatre Company, “Seeing Oneself in Textbooks of Times
I-11:572—-82 Past: Reflections on a Collection of
“Red Star versus Green Goddess: Sean Children’s Schoolbooks,” by Kendall
O’Casey’s The Star Turns Red and the Turner, 111:962—69
Politics of Form,” by Susan Cannon “The Shady Business of Enlightenment:
Harris, 1—11:357—98 John Trusler’s Progress of Man and
Reid-Walsh, Jacqueline, “Eighteenth- Johann Basedow’s Elementarwerk,” by
Century Flap Books for Children: Andrea Immel, 111:969—-86
Allegorical Metamorphosis and “Shavian Poetics: Shaw on Form and
Spectacular Transformation,” Content,” by Michael Goldman, 1
111:751—89 11:71 81
“Rhetoric and Silence in Six Plays by Shaw, George Bernard, 1—11:72; cam-
Sebastian Barry,” by Murray Biggs, paigns against censorship, I-11: 276,
I-11:649—70 277-78; as literary theorist, 1—11‘:77 2
Richtarik, Marilynn, “Stewart Parker, 81; and the representation of age in
Belfast Playwright,” 1-11:526—59 drama, I—11:436
Robinson, W. Heath, illustration for PLAYS: Caesar and Cleopatra, 1-11:74,
H. C. Andersen, 111:856, 857, 874 77; Major Barbara, 1-11:80; Man and
Roche, Billy, “Tom Murphy and the Superman, 1—11:72, 74, 80-81; The
Continuous Past,” 1—11:620-31 Shewing-up of Blanco Posnet, 1-11:276,
Rockett, Kevin, “Dion Boucicault, 322, 323
Staging, and Early Cinema,” 1—11: Smith, Dorothy Travers, stage designs,
33-59 I—11:188—g0
Russell, George (£), 1-11:127, 213, 171, Smith, Pamela Coleman, 1—11:181—82,
202, 220 183; designs for Abbey Theatre pro-
ductions, 1—11:182, 184
Saddlemyer, Ann, “Designing Ladies: “Speaking of Translations: A Conversa-
Women Artists and the Early Abbey tion with Garry Hynes and Emily
Stage,” 1-11:163-—99 Mann,” I—11:519-25
Salzmann, Christian Gotthilf, Mora “stage Irishness”: and founding of Abbey
lisches Elementarbuch, 111:974, 983, 997, Theatre, 1—11:34; in films, 1-11:54
998, 999 56
“Samuel Beckett,” by Edward Albee, Stahl, Johann Friedrich, Entwurf iiber
I—11:429-30 die Nahrungszweige, illustrated by
“Samuel Beckett’s Theater: Liminal Sub- E. Wachter, 111:995
1082