By Katarzyna Ojrzynska
This publication bargains a finished learn of the function of dance in quite a lot of modern Irish performs and argues that dance may be perceived as exemplifying the re-embracement of physically expression by way of the neighborhood tradition. the writer ways this factor from a cultural materialist viewpoint, demonstrating that dance in twentieth-century eire used to be relatively vulnerable to ideological appropriation and that, therefore, its use in modern drama frequently serves to speak serious and revisionist techniques to the social, monetary and political matters addressed in those performs. The e-book makes a important contribution to present debates concerning the nature of Irish theatre, investigating contemporary alterations to its conventional, text-based personality. those are tested inside of very important contexts: to start with, variations within the conception of the human physique in Irish tradition and, secondly, alterations within the perspective of the Irish in the direction of their prior and their cultural historical past.
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Additional info for ’Dancing As If Language No Longer Existed’: Dance in Contemporary Irish Drama
As Kevin Whelan explains, Both the setting as well as the style of the new Irish dances acted to dampen down sexuality. The invented dance style was purposely asexual, involving minimal physical contact, as opposed to the full-blooded, full-frontal engagement of, for example, the traditional sets. This evolution from passion to pallor, from erotic to neurotic, almost buried the existing forms. Increasingly, and predictably, the new form appealed most to pre-pubescent children, a development aided by the Gaelic League-sponsored dancing schools in the 1920s.
Brown, Ireland 249), and served as a response to the growing interest in foreign popular culture, some traces of which could be noticed already in the 1940s and 1950s. Another crucial factor facilitating social and cultural change was the favourable economic atmosphere of the 1960s. The earlier, de Valeran idea of self-sufficiency was replaced with Ireland’s more active participation in the world economy. Pointing to such factors as the annual growth rate of four percent resulting from the success of the First Programme 32 Chapter 1 for Economic Expansion, the rise in the number of people employed in manufacturing goods and the introduction of foreign companies to the Irish market, Terence Brown describes the years 1958–63 as “a major turning point in Irish fortunes” (Ireland 229), a period “when new Ireland began to come to life” (Ireland 230).
It’s slow dancing done late at night by people both innocent and ripe that brings meltdown. Those dances were the most exquisite, prolonged foreplay the world has ever known, even though all they led to was more foreplay. 34 Chapter 1 The relaxed and liberal atmosphere of the times does not seem to have altered the view that social dance should retain its role of a conventionalized form of premarital courtship. This attitude fostered favourable conditions for the emergence of the idealized concept of a ballroom romance which, following the patterns typical of fairy tales, ended with a joyous wedding ceremony.