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  <title>Irish Theatre Magazine features RSS</title>
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     <guid isPermaLink="true"><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/A-new-beginning-for-Limerick-s-cultural-gem]]></guid>
     <title><![CDATA[A new beginning for Limerick’s cultural landmark]]></title>
     <description><![CDATA[Limerick's Belltable Arts Centre has played as many parts as the performers treading its boards over the years. The former Georgian terraced house at number 69 O&rsquo;Connell Street has been a shirt factory, a make-shift opera house, Amharclann na Féile, a community hall and a cinema. But after two years off-site and a &euro;1.26m refurbishment, its staff aim to restore its place in the hearts of audiences and the arts community when it re-opens this Friday.

The venue was last refurbished in 1991, so a refit was overdue, specially when competing with custom-built facilities in the mid-west...]]></description>
     <pubDate>Thu, 25 Nov 2010 11:06:59 GMT</pubDate>
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     <guid isPermaLink="true"><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Bring-on-the-apocalypse-with-laughs]]></guid>
     <title><![CDATA[Bring on the apocalypse – with laughs]]></title>
     <description><![CDATA[Inside University College Cork&rsquo;s Aula Maxima, on a grey and rainy Saturday, &lsquo;the Priest&rsquo; is rehearsing his lines for the forthcoming production of Cork&rsquo;s World Theatre, an apocalyptic parable about man, nature and the end of the world. &ldquo;You shitheads,&rdquo; he tells his flock, &ldquo;you bowls of puss, you living corpses! You make the roaring of the End Wind into a business. You turn your own downfall into money. O may wrath be upon you. O may derision come upon you.&rdquo;
Director Peadar Donohoe, of the Cork-based Cyclone Repertory Theatre Company, is looking at...]]></description>
     <pubDate>Thu, 25 Nov 2010 14:52:38 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Bring-on-the-apocalypse-with-laughs]]></link>     
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     <title><![CDATA[This is about everything that ever happened]]></title>
     <description><![CDATA[This article was meant to be a post-mortem. My reflection on what happened and what that means now. As I write and think about the process, all I want to talk about are the flashes of memories. The moments that shook me. The reasons I had to make this piece. Before we began the actual devising process of Heroin, I undertook a huge research and development project. I was able to do this because CREATE believed in the idea and helped me get some money from theArts Council'sArtist in the Community Scheme.I decided to do this before I made any attempt to work on the show, because I was terrified. The...]]></description>
     <pubDate>Tue, 07 Dec 2010 17:23:17 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/This-is-about-everything-that-ever-happened]]></link>     
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     <guid isPermaLink="true"><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/A-dance-into-the-unknown]]></guid>
     <title><![CDATA[A dance into the unknown]]></title>
     <description><![CDATA[The day after the EU-IMF bailout was announced, I went to see Performance Corporation&rsquo;s Slattery&rsquo;s Sago Saga, which was playing for one night only at the Town Hall Theatre in Galway. It&rsquo;s an adaptation by Arthur Riordan of an unfinished Flann O&rsquo;Brien novel and, as you&rsquo;d expect from both authors, it is very, very clever &ndash; and completely mad.
Yet it also seemed surprisingly topical &ndash; almost prescient, in fact. The idea at the centre of the plot (such as it is) is that acres of Irish land are being bought up by a foreign power &ndash; someone who claims to...]]></description>
     <pubDate>Tue, 14 Dec 2010 14:28:04 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/A-dance-into-the-unknown]]></link>     
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     <title><![CDATA[The year of living differently]]></title>
     <description><![CDATA[Nothing shakes you up like a near death experience. That may be an extreme characterisation of Irish theatre at the beginning of 2010 &ndash; but only just. When eleven companies lost funding in February, the outlook for productions, even survival, seemed bleak. In its wake, theatre gradually rallied, consistently articulating its value through Theatre Forum, the National Campaign for the Arts, and other channels. But on stage, its behaviour could seem surprising, its methods different. Some of it was encouraging, some mildly concerning, and much of it was out of character. You could call it a...]]></description>
     <pubDate>Wed, 15 Dec 2010 12:39:54 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/The-year-of-living-differently]]></link>     
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     <title><![CDATA[The world on their own terms]]></title>
     <description><![CDATA[Irish theatre-makers are increasingly directing their attention to theatre as an instrument &ndash; one little to be trusted at that &ndash; and in 2010, there is no longer a question about whether Irish audiences are up for it. You have only to look to a moment where the performers in Theatreclub Stole Your Clock Radio What the Fuck You Gonna to Do About it?quote what is evidently an extended film sequence (December 2009, revived Project Arts Centre, May 2010). It takes a minute to realise that it&rsquo;s The Breakfast Club (but of course), another to realise that certain audience members are...]]></description>
     <pubDate>Mon, 20 Dec 2010 14:37:35 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Taking-the-world-on-their-own-terms]]></link>     
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     <title><![CDATA[Lofty ambition on a shoestring]]></title>
     <description><![CDATA[It was either bravery or foolishness, but whatever it took, Bottom Dog theatre company was established in Limerick city in November 2008, and in April last year it found a home in the Loft Venue, above the Locke Bar on George&rsquo;s Quay. Co-founders of Bottom Dog, Mike Finn, Myles Breen, Mike Burke and Liam O&rsquo;Brien, share a lot of history. They were involved in Limerick&rsquo;s Island Theatre and have worked as writers, directors and performers in the region for many years. But just as Island Theatre celebrated its twentieth anniversary in 2008 the company lost its funding, along with numerous...]]></description>
     <pubDate>Thu, 27 Jan 2011 11:53:14 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Lofty-ambition-on-a-shoestring]]></link>     
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     <title><![CDATA[Underground in the mainstream]]></title>
     <description><![CDATA[The walls are drenched in gold, subversion and sub-text, we&rsquo;re underground in the mainstream... We&rsquo;ve boiled over and you can&rsquo;t see through the crowd for all the steam. Welcome to the revolution. WERK,Issue One: We Buy Gold.The sky has fallen in. The city above our heads is a dirtier Dublin than we&rsquo;ve ever seen.We can&rsquo;t trust our leaders. We can&rsquo;t quite buy the papers. What the fuck is going on?Where has all the money gone? How are they getting away with all this?
2010. The year of the new. We are dancing in the basement of the Abbey. And we can&rsquo;t quite...]]></description>
     <pubDate>Thu, 27 Jan 2011 14:02:50 GMT</pubDate>
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     <title><![CDATA[Falling in love with acetate, audio-loops and live action]]></title>
     <description><![CDATA[Limerick&rsquo;s annual performance festival, the Belltable Unfringed, took audiences on a geographical and emotional journey this year. Over five days, it navigated a path through wild woods and teenage crushes, suburban shopping centres and mix-tapes of the heart. Now in its fourteenth year, the eclectic programme had offerings from touring productions but also showcased new and experimental work across several genres.
The Belltable&rsquo;s Artistic Director, Joanne Beirne, says that the audience wanted something &ldquo;they can enjoy but they also want to be engaged&rdquo;, at the first arts...]]></description>
     <pubDate>Thu, 03 Feb 2011 12:09:58 GMT</pubDate>
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     <title><![CDATA[Budapest Letter: politics on the national stage]]></title>
     <description><![CDATA[There are a number of anxieties in advance of the General Election on February 25th, not least the worry that we will just get more of the same, but few Irish artists will be anxiously watching the ballot boxes fearing the impact of the new government on Arts Council decision-making, and the Director of the Abbey Theatre will not be wondering whether to get his coat. Yes, budget amounts may be affected by who gets into power and the value they attach to the arts &ndash; but it is unlikely that artistic directors of theatres and arts centres around the country will get the boot, or that a unilateral...]]></description>
     <pubDate>Thu, 10 Feb 2011 12:52:25 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Budapest-Letter--politics-on-the-national-stage]]></link>     
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     <title><![CDATA[A slow mutation over time]]></title>
     <description><![CDATA[Corn Exchange are back in the Ulster Bank Dublin Theatre Festival for the third time in four years with Freefall. In the fourteen years of its history, there are certain characteristics that we have come toexpect from Corn Exchange&rsquo;s work: a highly physical style ofperformance, unusual juxtapositions of theme and formal approach, andabove all, a focus on the relationship between stage and audience. Butthere is always an element of the unknown about any new Corn Exchangeproject, which is part of its appeal.

KAREN FRICKER (KF): What was the genesis of this project?

ANNIE RYAN (AR): The...]]></description>
     <pubDate>Mon, 28 Sep 2009 08:35:58 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/A-slow-mutation-over-time]]></link>     
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     <guid isPermaLink="true"><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Into-the-deep-forest]]></guid>
     <title><![CDATA[Into the deep forest]]></title>
     <description><![CDATA[&ldquo;We&rsquo;ve got nobody to blame but ourselves,&rdquo; declares Trevor Knight. The forcefulness of the sentiment is belied by the soft-spoken voice. It&rsquo;s a combination of determination and mellowness, and it becomes apparent that this characterises the man and his work to a T.

The issue under discussion is Irish theatre&rsquo;s traditional four-week rehearsal period, a process that, in Knight&rsquo;s view, doesn&rsquo;t allow nearly enough time to let an idea find its best form. As a composer and a theatre practitioner, he&rsquo;s quietly adamant that the musical aspect of things...]]></description>
     <pubDate>Mon, 28 Sep 2009 08:35:21 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Into-the-deep-forest]]></link>     
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     <title><![CDATA[What site-specific really means]]></title>
     <description><![CDATA[To really understand an artist you have to see them at work. Up at Blessington Basin in Dublin&rsquo;s north inner-city a couple of weeks ago, a veritable army of set designers, writers, artists, actors buzzed around the semi-derelict gate lodge that guards the entrance and the surrounding park. Standing among them was director Louise Lowe, giddy and busy, stealing a few minutes from her pre-dress-rehearsal schedule for this Dublin Fringe Festival project.

Part multi-disciplinary installation, part promenade theatre piece, Basinwas Lowe's most ambitious project to date. Having directed a series...]]></description>
     <pubDate>Sat, 26 Sep 2009 03:51:38 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/What-site-specific-really-means]]></link>     
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     <guid isPermaLink="true"><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/In-pursuit-of-shadows--legacy-and-loss-in-contempo]]></guid>
     <title><![CDATA[Chasing shadows: legacy and loss in contemporary dance ]]></title>
     <description><![CDATA[This summer, dance lost two of its most accomplished artists, Pina Bausch and Merce Cunningham. In life, both were prodigiously innovative, creating performances that provoked admiration and hostility, and composing work that exerted influence not just within dance, but further afield. Yet their passing is just as momentous, drawing attention once more to the tenuous hold that their life&rsquo;s work &ndash; and all dance - has on existence. Their deaths have imparted a new urgency to old questions - what remains and what can be passed on?

In one sense, this is nothing new. Even beside other...]]></description>
     <pubDate>Sat, 26 Sep 2009 17:11:57 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/In-pursuit-of-shadows--legacy-and-loss-in-contempo]]></link>     
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     <title><![CDATA[Reading between the headlines]]></title>
     <description><![CDATA[&ldquo;Five Irish women Playwrights, Five New York News Stories&rdquo; read the tagline for Origin Theatre Company's Spinning the Times, with a New York Times quote - &quot;Stunningly written monologues&quot; - emblazoned on the promotional flier (although an observant eye will note that this quote actually referred to Origin's 2005 production of Mark O&rsquo;Rowe&rsquo;s Crestfall). As part of the 2009 1st Irish Festival, which ran over five weeks in twelve different New York venues, Origin Theatre Company (&quot;Where European Theatre Lives&quot;) offered five Irish female playwrights a commission...]]></description>
     <pubDate>Tue, 27 Oct 2009 21:54:51 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Reading-between-the-headlines]]></link>     
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     <title><![CDATA[A vocation and an addiction]]></title>
     <description><![CDATA[Fintan Walsh  (FW):  You have spent the past year as Writer in Association at the Abbey Theatre. Could you explain how this came about, and how the position has benefited you?
Phillip McMahon (PMcM):  The starting point might have been a short play, Investment Potential, I wrote for the Abbey&rsquo;s 20:LOVE Season in 2008. That said, Literary Director Aideen Howard has been a supporter of my work from the very start. Needless to say when Aideen called me on behalf of the Abbey to ask if I&rsquo;d be their Writer In Association I was much more than excited: I was genuinely shocked. Most of the...]]></description>
     <pubDate>Wed, 04 Nov 2009 15:44:44 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/A-vocation-and-an-addiction]]></link>     
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     <title><![CDATA[Finding the freedom to play]]></title>
     <description><![CDATA[The attraction for me of working with Michael Keegan-Dolan is that his approach is holistic. His emphasis is on the body, on a spiritual process, and on transformation, and he attempts to marry all of these things, the way theatre in ancient times might have done.
His rehearsal process is rooted in daily discipline: we have four weeks of living and working together, starting with yoga at seven a.m. and continuing till six or nine o&rsquo;clock in the evening, eating together during the day. The emphasis is on being fully in this environment, with no distractions.
The creation of the work is an...]]></description>
     <pubDate>Wed, 18 Nov 2009 17:02:07 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Finding-the-freedom-to-play]]></link>     
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     <title><![CDATA[At the hub of Limerick's theatre life]]></title>
     <description><![CDATA[With the shrinking of Arts Council funding this year and the threat of further cuts to come, production hubs have been the buzzwords for theatre in 2009. Theatre practitioners have had to question whether the economic climate can accommodate the current infrastructure of individual production companies. The direction was signalled, to an extent, by David Parnell, who was appointed Head of Theatre at the Arts Council in late 2007. Speaking to the Irish Times in January this year, he commented that the reduced Arts Council budget was &ldquo;a good opportunity to at least re-imagine the model by which...]]></description>
     <pubDate>Tue, 08 Dec 2009 13:41:05 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Sharing-resources-at-the-Limerick-Theatre-Hub]]></link>     
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     <title><![CDATA[Being there, virtually: live performance meets new media]]></title>
     <description><![CDATA[One of the storming successes in New York this winter is Let Me Down Easy, devised and performed by Anna Deavere Smith. It&rsquo;s the play&rsquo;s third time around, such is the popularity of this documentary style piece examining life, death and the care of the ailing body, for which Smith interviewed sporting and cultural luminaries, doctors and carers. After the show, audiences are invited to get involved in the conversation Deavere Smith has started, by logging onto the play&rsquo;s website and participating in an interactive discussion.
The strategy is a simple yet effective way of encouraging...]]></description>
     <pubDate>Tue, 08 Dec 2009 19:17:02 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Being-there-–-virtually]]></link>     
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     <title><![CDATA[Child's play: making theatre for young audiences]]></title>
     <description><![CDATA[We are increasingly aware of looking after minority groups within the arts, either through representation or provision. But when it comes to children, responding to their needs can be a trickier affair. Some of this has to do with the fact that young people are rarely at the helm of decision-making, where they might express their wishes as their grown-up counterparts can. A greater deal has do with the fact that the provision of cultural experiences for children is often determined by the education system, where funding is traded in for learning outcomes. This complexity is also influenced by commercial...]]></description>
     <pubDate>Thu, 17 Dec 2009 16:23:09 GMT</pubDate>
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     <title><![CDATA[Boom, bust and breeze-blocks]]></title>
     <description><![CDATA[Director Rachel West and her company, RAW, have grabbed some unlikely plunder from the recent &ldquo;hey-presto&rdquo; transformation from property bubble to lead balloon. With the support of project funding from the Arts Council, West gathered a multi-disciplinary group of artists to delve into The Oresteia, a complex trilogy of works by the Greek playwright, Aeschylus. Off Plan, Simon Doyle&rsquo;s newly-minted version, opens at Project Arts Centre next week, and although it has been two years hatching, it couldn&rsquo;t be more topical.

As in Aeschylus&rsquo;s original, Off Plan re-tells...]]></description>
     <pubDate>Thu, 04 Feb 2010 15:41:02 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Boom--bust-and-breeze-blocks]]></link>     
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     <title><![CDATA[A London Letter: Jerusalem]]></title>
     <description><![CDATA[Most people who follow theatre in these islands will have heard about Jez Butterworth&rsquo;s play, Jerusalem, which premiered at London&rsquo;s Royal Court last July, transferred to the West End in January, and is heading for Broadway next year. Much of the buzz has centred around Mark Rylance&rsquo;s astonishing performance as the play&rsquo;s ambiguously heroic central figure, Johnny &lsquo;Rooster&rsquo; Byron, for which he rightly won the Olivier Award for Best Actor this week. Having caught up with Jerusalem, I can&rsquo;t but agree that this is a massive performance by one of his generation&rsquo;s...]]></description>
     <pubDate>Thu, 25 Mar 2010 13:25:16 GMT</pubDate>
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     <title><![CDATA[Two cities, multiple directions]]></title>
     <description><![CDATA[In the coming months, Dublin audiences will see the work of two emerging Irish directors whose names &ndash; Roísín McBrinn and Donnacadh O&rsquo;Briain &ndash; are probably not as familiar as one might expect, given their level of experience and the number of impressive credits on their CVs. This is because both of them chose to build their early careers in London rather than Ireland; both have benefited tremendously from the many assistantship, bursary, and mentoring schemes available in the UK.
Coincidentally, McBrinn and O&rsquo;Briain left Ireland in the same year &ndash; 2003; they each...]]></description>
     <pubDate>Wed, 14 Apr 2010 10:40:31 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Two-cities--multiple-directions]]></link>     
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     <title><![CDATA[Powerful theatre, morally essential]]></title>
     <description><![CDATA['The Darkest Corner', a series of three theatre pieces seen over recent weeks on the Peacock stage, constitutes the National Theatre&rsquo;s response to the revelations of systemic and widespread abuse as detailed in the 2,700-page Ryan Report, published in May 2009. The Abbey&rsquo;s programming is a much-needed and brave first step in a self-consciously &ldquo;national&rdquo; artistic response.
The season takes its name from Brian Cowen&rsquo;s statement that the publication of the Ryan Report &ldquo;shone a light into probably the darkest corner of the history of the State&rdquo;.This series...]]></description>
     <pubDate>Sun, 02 May 2010 12:16:05 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Theatrically-powerful--morally-essential]]></link>     
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     <title><![CDATA[Permission to take risks]]></title>
     <description><![CDATA[One of the aims of the Project Brand New programme is to allow artists to experiment without the fear of failure. Organisers Louise Lowe, Lynnette Moran, Jody O&rsquo;Neill and Dee Roycroft are especially interested in promoting collaboration between artists from a range of disciplines, while encouraging practitioners to revel in the experience of taking chances in a supportive environment. Although established only two years ago, to date Project Brand New has led five programmes, and the team has curated and produced events with the Dublin Fringe Festival, the Ulster Bank Dublin Theatre Festival,...]]></description>
     <pubDate>Thu, 06 May 2010 10:06:34 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Permission-to-take-risks]]></link>     
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     <title><![CDATA[Bodies of knowledge and experience]]></title>
     <description><![CDATA[On a warmly lit stage, two bodies are prostrate, facing the audience. They kneel, foreheads touching the floor. On one, a straight-lined set of vertebrae disappears over the horizon of the curved back. On the other back, a large hump protrudes on one side. That back belongs to German choreographer Raimund Hoghe, as seen in Swan Lake, 4 Acts, which was performed at the Dublin Dance Festival in 2008. Hoghe returns to this year's festival next week with Young People, Old Voices, another opportunity to witness his juxtaposition of stereotypical dancers&rsquo; bodies alongside his own.

In his words,...]]></description>
     <pubDate>Tue, 11 May 2010 10:30:17 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Bodies-of-knowledge-and-experience]]></link>     
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     <guid isPermaLink="true"><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/On-an-upward-spiral]]></guid>
     <title><![CDATA[On an upward spiral]]></title>
     <description><![CDATA[It starts with incongruity. Why is the large cushioned sofa on the lawn? Already intrigued, we peer expectantly at the half-lit figures behind the glass screens of Aedín Cosgrove&rsquo;s inventive design in the opening sequence of Junk Ensemble&rsquo;s terrific show, which jump-started Dublin Dance Festival 2010. 

In Five Ways to Drown choreographers Jessica and Megan Kennedy have set us up, as usual. Their penchant for site-specific work has led to a reversing of the usual position of audience and stage in Project Arts Centre, creating a sense of lives off balance. We can assume that nothing...]]></description>
     <pubDate>Wed, 19 May 2010 12:00:58 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/On-an-upward-spiral]]></link>     
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     <guid isPermaLink="true"><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Artists-of-the-floating-world]]></guid>
     <title><![CDATA[Artists of the floating world]]></title>
     <description><![CDATA[A character in one of the international shows in Dublin Dance Festival remarks to another, &ldquo;I like the way you move.&rdquo; The comment, ironic in the particular context, had reverberations throughout the festival: the manner and mode of gesture, steps and phrases were connected to an interlocking jigsaw of themes. The subtexts relating to the many bodies of contemporary dance, alongside the interrogation of performance and underlying narratives seemed to suit the skills of the participating Irish artists, echoing their international counterparts&rsquo; meditative and coherent exploration...]]></description>
     <pubDate>Wed, 26 May 2010 16:58:21 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Artists-of-the-floating-world]]></link>     
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     <title><![CDATA[Scenes from a Siberian youth]]></title>
     <description><![CDATA[It is a bright summer&rsquo;s day, but inside the Savoy Theatre the lighting is dimmed, with heavy velvet curtains, a long bar and stairs winding upwards to a second floor. Empty of its evening revellers, the space is moody and atmospheric, an apt choice of location for the urban hell chronicled in Plasticine by award-winning Russian playwright Vassily Sigarev. Corcadorca Theatre Company is staging this as part of Cork Midsummer Festival 2010, which starts next week. Directed by Pat Kiernan as a promenade production, it will allow the audience to follow the characters around the building, tracked...]]></description>
     <pubDate>Tue, 08 Jun 2010 18:05:56 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Scenes-from-a-Siberian-youth]]></link>     
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     <guid isPermaLink="true"><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Taking-roads-less-travelled]]></guid>
     <title><![CDATA[Taking roads less travelled]]></title>
     <description><![CDATA[Dylan Tighe doesn&rsquo;t tend to stay still for long. In 2001, shortly after graduating with a degree in Spanish and Italian from Trinity College Dublin, the actor, director and writer began travelling around the Balkans, primarily fascinated by acquiring new languages: from Bosnia to Serbia, Croatia to Kosovo. His creative wanderlust extended to the US, Canada and China as an actor on tour with Pan Pan Theatre Company&rsquo;s Oedipus Loves You. When the tour had finished, Tighe requested that the company would not fly him home from Asia, but provide his train fare for the Trans-Mongolian Express....]]></description>
     <pubDate>Thu, 17 Jun 2010 12:01:43 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Taking-roads-less-travelled]]></link>     
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     <title><![CDATA[A London Letter: Women, Power and Politics]]></title>
     <description><![CDATA[I went along needing to be convinced. For the third time in two years, London&rsquo;s Tricycle Theatre has undertaken a day-long themed play series: following on from &ldquo;The Great Game&rdquo;, about Afghanistan, and &ldquo;Not Black and White&rdquo;, about race in Britain, the latest is &ldquo;Women, Power, and Politics&rdquo;, nine short plays by female writers, interspersed with edited verbatim accounts from female MPs. These past series have proved very successful for the Tricycle. Reviews have been quite positive, particularly for the &ldquo;Great Game&rdquo; series, which is currently...]]></description>
     <pubDate>Thu, 24 Jun 2010 12:05:25 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/A-London-Letter--Women--Power--Politics]]></link>     
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     <title><![CDATA[Fleeting connections and sauna diplomacy ]]></title>
     <description><![CDATA[The Hangaslahti sauna, about twenty minutes outside the city of Tampere, is a distinctly Finnish model of prudent seclusion and unreserved display. A wooden lodge nestled into a forest of silver birch trees beside a clear water lake, it was built in 1968, renovated in 2006, and now stands as something both reassuringly traditional and sleekly modern. Its smoke sauna is the oldest form of the Finnish invention, but these days it functions more as a safe haven for private parties, corporate clients and business deals where visitors leave their clothes at the door, sweat it out in 85 degree heat and...]]></description>
     <pubDate>Thu, 19 Aug 2010 00:30:15 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Fleeting-connections-and-sauna-diplomacy]]></link>     
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     <title><![CDATA[Mapping cities of the mind]]></title>
     <description><![CDATA[Cities are constructed, from the ground up, of glass and bricks and mortar and steel; equally, they are constructed of memories and hopes and disappointments. In this age of budget globetrotting, if you&rsquo;ve seen one city, you may feel you&rsquo;ve seen them all, but it is arguable that you&rsquo;ve certainly seen them through the filter of all the other cities you&rsquo;ve visited, or inhabited.

In environmental psychology, the notion of &ldquo;place attachment&rdquo; has to do with this construction, and can be divided into ideas around meaning and preference. In the former, landscape...]]></description>
     <pubDate>Thu, 09 Sep 2010 11:20:32 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Mapping-new-cities-of-the-min]]></link>     
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     <title><![CDATA[Recuperation and discovery]]></title>
     <description><![CDATA[It was always intended that there would be a &ldquo;sister&rdquo; database to the Irish Theatre Institute&rsquo;s Irish Playography, which catalogues new Irish plays in English from 1904 to 2006. Playography na Gaeilge, cataloguing new plays (and adaptations and translations) in Irish from 1901 to the present, went live for the first time earlier this year with Phase One: plays from 1975 to 2009. The Irish Theatre Institute (ITI) also published an accompanying 'Findings Report', compiled by Jen Coppinger and Claire O&rsquo;Neill, which analyses the content of the catalogue in detail, breaking it...]]></description>
     <pubDate>Wed, 15 Sep 2010 13:39:04 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/An-act-of-recuperation-and-discovery]]></link>     
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     <guid isPermaLink="true"><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Finding-a-theatrical-language-for-Irish-theatre]]></guid>
     <title><![CDATA[Fiche bliain ag fás]]></title>
     <description><![CDATA[The world was a very different place. The Berlin Wall had just fallen, Ireland was emerging from a major recession and it seemed there was nothing we couldn&rsquo;t do.     Bullaí Mhártain, a co-production between Deilt and Na Fánaithe, premiered in Druid Lane Theatre, Galway, in October 1989. I saw it later in Project Arts Centre, Dublin, and I thought it was extraordinary. Adapted by Seán Mc Carthy from stories by Donncha Ó Céilleachar and Síle Ní Chéileachair set in the Kerry Gaeltacht in the 1950s, it was directed by a Pole, Kazimierz Braun. Delivered in brief episodes, it relied on strong...]]></description>
     <pubDate>Wed, 15 Sep 2010 15:31:45 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Finding-a-theatrical-language-for-Irish-theatre]]></link>     
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     <guid isPermaLink="true"><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/The-haunted-prince--in-triplicate]]></guid>
     <title><![CDATA[The haunted prince, in triplicate]]></title>
     <description><![CDATA[When a journalist is given leave to enter the rehearsal room, it can be something of an artificial experience. The work will be genuine but the approach can be flavoured by the awareness that a stranger is witnessing the proceedings. There&rsquo;s no chance that someone &ndash; preferably the director &ndash; is going to throw a strop. Too bad. It would make such a good lead.
Gavin Quinn appears to be the last director in Ireland who would throw his book across the room. As the second act of The Rehearsal: Playing the Dane unfolds, from time to time Quinn gently insinuates himself into the set,...]]></description>
     <pubDate>Wed, 29 Sep 2010 10:43:39 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/The-haunted-prince--in-triplicate]]></link>     
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     <title><![CDATA[First we'll take Manhattan]]></title>
     <description><![CDATA[On a sunny September Saturday in New York, just off Washington Square, NYU&rsquo;s Glucksman Ireland House played host to a day-long symposium titled 'Theatre Talk: In Transition, In Translation: Irish Theatre in the US Today'. In an effort to kickstart a panel conversation on &quot;The Irish Brand&quot;, moderator Annette Clancy called upon the audience to offer some words that they might associate with this term. A mini-deluge of descriptors were thrown out and hastily jotted down on a whiteboard: Satire. Green. Language. Heritage. Music. (Dark) Humour. Pain. Rain. Fabrication. Hyperbole. Pride....]]></description>
     <pubDate>Fri, 01 Oct 2010 18:58:32 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/First-we-ll-take-Manhattan]]></link>     
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     <guid isPermaLink="true"><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Packaging-Belfast-s-cultural-heritage]]></guid>
     <title><![CDATA[Whose culture, whose Cathedral Quarter?]]></title>
     <description><![CDATA[&ldquo;Excuse me, where can we find the Cathedral Quarter?&rdquo; The truth: no one has mapped out the streets of the quarter with any precision. Suffice to say, you&rsquo;ll know when you&rsquo;re there. 

Named after St. Anne&rsquo;s Cathedral at its heart, the Cathedral Quarter is the birthplace of Belfast, its street patterns discernible from seventeenth century maps. Extending south and east from the junction of Royal Avenue, Donegall Street and York Street, it stretches out to meet the city&rsquo;s Merchant Quarter. 

In the eighteenth and nineteenth centuries, its four corners&rsquo;...]]></description>
     <pubDate>Wed, 20 Oct 2010 20:50:05 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Packaging-Belfast-s-cultural-heritage]]></link>     
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     <title><![CDATA[A voice from another Ireland  ]]></title>
     <description><![CDATA[For some New York theatre critics, the story of Teresa Deevy (1894-1963) seemed too good to be true. Or rather, too true: touched by too many hard truths for her work to be any good. As critics rolled up recently to the Mint Theater, off-Broadway, for director Jonathan Bank&rsquo;s resuscitation of Deevy&rsquo;s play, Wife to James Whelan, Michael Feingold of the Village Voice gave voice to the suspicion felt by many.

&quot;Irish, female, and hearing-impaired from the age of twenty&quot;, was how Feingold opened his review of the play. &quot;What nonprofit institution wouldn't want the glory...]]></description>
     <pubDate>Tue, 26 Oct 2010 20:41:40 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/A-voice-from-another-Ireland]]></link>     
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     <title><![CDATA[From bite-sized theatre to international co-production]]></title>
     <description><![CDATA[Every venue on the Irish theatrical horizon has a remit, whether officially acknowledged or not. Bewley's Café Theatre in Dublin is home to the lunchtime show, where the one-act matinee comes with soup and brown bread, filling one&rsquo;s stomach as well as satisfying a thirst for drama. For the past seventeen years Bewley&rsquo;s has supplied Dubliners and visitors with shows that can be caught in a lunch break, using the tiny stage in the former Oriental Room to impart big ideas to intimate audiences.

Last month, Bewley's Café Theatre presented its first season of international plays, in which...]]></description>
     <pubDate>Thu, 18 Nov 2010 12:59:11 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/From-bite-sized-theatre-to-international-co-produc]]></link>     
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     <title><![CDATA[A career in lights]]></title>
     <description><![CDATA[A cursory glance at Paul Keogan&rsquo;s CV reinforces what you may have already thought: at home, abroad, and on tour, Keogan is clearly a leading light in his field. And, having carved quite a niche for himself as one who helps a production - whether theatre or opera - tell its story with instruments and gels, he has not been content to leave it at that. Venturing into set design is a part of that need; a larger part has to do with the natural curiosity of the artist and the fact that, in his terms: &ldquo;it always feels like I&rsquo;ve got to lift my game.&rdquo;
Keogan started his career,...]]></description>
     <pubDate>Thu, 24 Feb 2011 13:27:15 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/A-career-in-lights]]></link>     
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     <title><![CDATA[Academia and Professional Theatre: initiatives, partnerships and collaborations  ]]></title>
     <description><![CDATA[There has arguably always been a connection, however tenuous, between academia and the professional realm of Irish theatre and performance. The university system in Ireland has served in one or another as a kind of rough hewn hatchery of theatre artists and companies, usually through loosely structured apprenticeships spent in drama societies or other student-led affiliations. The most prominent example of this kind of link would be the creation of Druid Theatre Company in Galway, which drew some of its core talent from the then University College Galway drama society in the 1970s. However, the...]]></description>
     <pubDate>Fri, 10 Aug 2012 00:00:00 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Academia-and-Professional-Theatre--initiatives--pa]]></link>     
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     <guid isPermaLink="true"><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/A-celebration-of-Risk--Creativity-and-Protest--ABS]]></guid>
     <title><![CDATA[A celebration of Risk, Creativity and Protest: ABSOLUT Fringe comes of age]]></title>
     <description><![CDATA[From a journalistic perspective, having been around the Dublin Fringe Festival for 14 of its 18 years means having been in many an office space, either to collect reviewing tickets or to interview main players. These offices have run the gamut from gloomy to grotty, and all have had a temporary, don&rsquo;t-toss-the-packing-boxes-in-the-bin vibe, an atmosphere of fervour and artistry held together by blue tack and sheer force of will.

The new premises overlooking Meeting House Square come as shock: familiar faces are lit by the abundance of light streaming through an embarrassment of windows,...]]></description>
     <pubDate>Tue, 14 Aug 2012 00:00:00 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/A-celebration-of-Risk--Creativity-and-Protest--ABS]]></link>     
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     <guid isPermaLink="true"><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Keeping-Everything-Completely-Alive--Corn-Exchange]]></guid>
     <title><![CDATA[Keeping Everything Completely Alive: Corn Exchange's 'Dubliners']]></title>
     <description><![CDATA[&lsquo;You&rsquo;re funny on Twitter,&rsquo; Annie Ryan tells me towards the end of our conversation, &lsquo;and you wouldn&rsquo;t have known.&rsquo; Having spied on her actors work up a sweat during high-energy rehearsals at Leinster Cricket Club, Rathmines, moments before we meet, I wonder if I too have just been told to try harder, or maybe not quite so hard. This off-hand serving of compliment and critique might be tougher to take if Ryan hadn&rsquo;t already made it clear over the course of our chat that she holds her own work with Corn Exchange - the company with which she has been Artistic...]]></description>
     <pubDate>Thu, 30 Aug 2012 00:00:00 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Keeping-Everything-Completely-Alive--Corn-Exchange]]></link>     
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     <title><![CDATA[A year of progress and reversals: Theatre in Northern Ireland in 2012]]></title>
     <description><![CDATA[While the sector has struggled to contend with scything cuts in core funding from the Arts Council of Northern Ireland (ACNI), chinks of light have gleamed from other sources. This has been the first year in the Decade of Centenaries &ndash; the official acknowledgement of significant anniversaries from 1912 to 1922 by the Northern Ireland Assembly, under the auspices of the Departments of Culture, Arts and Leisure and Enterprise, Trade and Industry. The Northern Ireland Tourist Board&rsquo;s ni2012 Our Time Our Place marketing campaign actively promoted a year of cultural festivities and anniversaries...]]></description>
     <pubDate>Sun, 09 Dec 2012 00:00:00 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/A-year-of-progress-and-reversals--Theatre-in-North]]></link>     
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     <title><![CDATA[Cripping up - Copping on]]></title>
     <description><![CDATA[&lsquo;In Peeling I wanted to create women who were witty, sexy, complex human beings who made difficult decisions about their fertility and potential offspring; women whose lives didn&rsquo;t necessarily differ so much from non-disabled, hearing women&rsquo;s lives.&rsquo; Kaite O&rsquo;Reilly, playwright.

Peeling, was written by a woman who identifies as disabled. Directed by Jenny Sealey, a deaf woman, and performed by three female actors, two disabled and one deaf. Being exposed to Kaite&rsquo;s work, the politics of identity and representation became much more vivid and important. Such...]]></description>
     <pubDate>Sat, 10 Mar 2012 00:00:00 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Cripping-Up---Copping-on]]></link>     
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     <title><![CDATA[The Transformative Power of Having Fun: Alternative Miss Ireland and Contemporary Irish Theatre]]></title>
     <description><![CDATA[Emerging from Dublin&rsquo;s LGBT community, and cruising the tail end of a  recession, the first AMI took place in Sides nightclub in 1987, run by  Frank Stanley, Ross Elliot Tallon and Niall Sweeney. It didn&rsquo;t take  place again until 1996, three years after the decriminalisation of male  homosexuality, at which point it moved to the Temple Bar Music Centre,  before shifting to the Red Box a year later, and finally settling in the  Olympia in 2000. Since then, the volunteer run event has raised over  &euro;335,000 to develop HIV/AIDS related programmes across the country,  while also providing...]]></description>
     <pubDate>Tue, 21 Feb 2012 00:00:00 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/The-Transformative-Power-of-Having-Fun--Alternativ]]></link>     
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     <title><![CDATA[I try to get under the skin]]></title>
     <description><![CDATA[Fintan Walsh interviews Nancy Harris, whose play No Romance premiered at the Peacock earlier this year and discusses her adaptation of Tolstoy&rsquo;s The Kreutzer Sonata and her new play Our New Girl, both of which open in London in January.
Fintan Walsh: Most readers of Irish Theatre Magazine will have encountered your writing when No Romance,   your first full length play for the National theatre, was staged at  the  Peacock in March 2011. Among the most striking aspects of that   production was the play&rsquo;s nuanced episodic form, its centralising of   female representation, and its treatment...]]></description>
     <pubDate>Mon, 12 Dec 2011 00:00:00 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Try-to-get-under-the-skin]]></link>     
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     <guid isPermaLink="true"><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/All-in-a-day-s-work--DYT-s-24-Hour-Plays-2013]]></guid>
     <title><![CDATA[All in a day's work: DYT's 24 Hour Plays 2013]]></title>
     <description><![CDATA[The contract of The 24 Hour Plays is as simple as it is nerve fraying. An exercise in extreme dramaturgy facilitated by New York&rsquo;s 24 Hour Company, and staged for a second year as a fundraiser for Dublin Youth Theatre, it asks for six ten-minute plays to be written, rehearsed and performed in the stretch of one day. That would be pressure enough, but there was still more riding on the event. Dublin Youth Theatre, for 35 years a crucible of creativity, has lost 67% of its funding since 2008 and &ndash; buoyed by goodwill and a production team that don&rsquo;t readily accept no for an answer...]]></description>
     <pubDate>Thu, 17 Jan 2013 00:00:00 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/All-in-a-day-s-work--DYT-s-24-Hour-Plays-2013]]></link>     
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     <guid isPermaLink="true"><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/One-foot-off-the-Island--Pan-Pan-s-International-M]]></guid>
     <title><![CDATA[One foot off the Island: Pan Pan's International Mentorship Programme]]></title>
     <description><![CDATA[Funded through a Resource Sharing Grant from the Arts Council, Pan Pan's international mentorship programme sets out to create the space for artists to &ldquo;take time to focus on developing their creative ideas&rdquo; &ndash; something ever more elusive now, in times of increasing focus on end product to justify funding. Each artist was provided with a bursary to allow them set aside time to work on their ideas, structured around a series of one-to-one meetings in Dublin with mentor Kirsten Dehlholm, artistic director of Danish company, Theatre Pro Forma.

What came across in two of the three...]]></description>
     <pubDate>Sun, 23 Dec 2012 00:00:00 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/One-foot-off-the-Island--Pan-Pan-s-International-M]]></link>     
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     <guid isPermaLink="true"><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/IETM-Dublin-2013---Meet--Mingle-and-Trust]]></guid>
     <title><![CDATA[IETM Dublin 2013 - Meet, Mingle and Trust]]></title>
     <description><![CDATA[IETM began in the early 1980s as a way for European theatre, dance and performance professionals to exchange knowledge and build relationships across a range of cultural and social contexts. The acronym IETM originally stood for Informal European Theatre Meeting, but its function as forum for networking, collaboration and information exchange has grown beyond the boundaries of Europe; the organisation is now simply known as IETM, an international network for the contemporary performing arts. However, the informal approach to the structuring of these meetings remains part of IETM&rsquo;s aim, a...]]></description>
     <pubDate>Fri, 11 Jan 2013 00:00:00 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/IETM-Dublin-2013---Meet--Mingle-and-Trust]]></link>     
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     <guid isPermaLink="true"><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/NO-MORE-DRAMA---Rimini-Protokoll--A-Live-Archive-o]]></guid>
     <title><![CDATA[NO MORE DRAMA - Rimini Protokoll: A Live Archive of the Everyday]]></title>
     <description><![CDATA[In Germany, in 2002, the hitherto largely unknown group, Rimini Protokoll, gained instant national attention with a project that almost did not take place at all. Two men who played a significant role in this were Matthias Lilienthal &mdash; who would become director of the Berlin theatre, Hebbel am Ufer, in the following year and make this venue the most important theatre for performing arts in the country &mdash; and Wolfgang Thierse, president of the German Bundestag. At that time Lilienthal was artistic director of the international
theatre festival Theater der Welt. In this capacity he invited...]]></description>
     <pubDate>Thu, 20 Oct 2011 00:00:00 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/NO-MORE-DRAMA---Rimini-Protokoll--A-Live-Archive-o]]></link>     
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     <guid isPermaLink="true"><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Contemporary-Dance-on-the-Move]]></guid>
     <title><![CDATA[Contemporary Dance on the Move]]></title>
     <description><![CDATA[When choreographer Fearghus Ó Conchúir was collaborating with conceptual artist Xiao Ke in China, he made an astonishing observation. While the two of them were on stage, he leapt and dashed into all corners of the stage, trying, in his Western way, to fill the space with his presence. He noticed, however, that Xiao hardly shifted at all, making very small movements. 

For her Eastern way of thinking, he explained, &ldquo;we&rsquo;re all a part of nature, so she&rsquo;s already connected with everything. Her small movements rippled out, already connected to the space.&rdquo; 

The image vividly...]]></description>
     <pubDate>Thu, 08 Nov 2012 00:00:00 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Contemporary-Dance-on-the-Move]]></link>     
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     <title><![CDATA[Geography and community:  Louise Lowe's four-part artistic vision]]></title>
     <description><![CDATA[I&rsquo;m standing inside at the glassed-in apex of one The LAB&rsquo;s ground floor galleries, per the instructions of director Louise Lowe. Actor Dee Burke charges towards the glass and knocks on it. Hard. A group of neighborhood kids passing by joins in. She motions for me to come outside and I choose to follow, Louise hanging back a little with a slight, satisfied grin on her face. &lsquo;I&rsquo;m a watcher,&rsquo; Dee tells me, &lsquo;that&rsquo;s what I do.&rsquo; And she&rsquo;s off like a shot in the other direction. I follow Dee around a corner into the Liberty Corner Flats and she immediately...]]></description>
     <pubDate>Wed, 21 Sep 2011 00:00:00 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Geography-and-community---Anu-Production-s-four-pa]]></link>     
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     <guid isPermaLink="true"><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/The-Talk-of-the-Town--Emma-Donoghue--Annabelle-Com]]></guid>
     <title><![CDATA[The Talk of the Town: Emma Donoghue, Annabelle Comyn and Maeve Brennan]]></title>
     <description><![CDATA[The previews were packed out, the run has been extended until 20 October, and it seems that The Talk of The Town has become, well, the talk of the town. Produced by Hatch Theatre Company, Landmark Productions and Dublin Theatre Festival, the play was quite lovingly developed by director Annabelle Comyn, artistic director of Hatch, and award-winning author Emma Donoghue, over the long distance between Canada, where the Man Booker short-listed writer is based, and Dublin, where Comyn was fresh from a successful run of Tom Murphy&rsquo;s The House in the Abbey Theatre. 

Getting the two in the same...]]></description>
     <pubDate>Wed, 03 Oct 2012 00:00:00 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/The-Talk-of-the-Town--Emma-Donoghue--Annabelle-Com]]></link>     
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     <guid isPermaLink="true"><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Seeding-and-nuturing-new-writing-for-the-stage]]></guid>
     <title><![CDATA[New playwriting: innovative programmes and vital initiatives]]></title>
     <description><![CDATA[&lsquo;Absolute delight!&rsquo; This was Hanna Slattne&rsquo;s reaction when she learned that playwrights David Ireland and Jimmy McAleavey, whose work was produced by Tinderbox Theatre Company in Belfast, had won two of the three awards presented by the Stewart Parker Trust in March of this year. The Trust awards three prizes annually: the New Playwright Bursary, the BBC Radio Drama Award and the BBC Irish Language Award. It was the first time ever that playwrights with productions from a single theatre company had won two awards at the same time, with McAleavey winning the New Playwright Bursary...]]></description>
     <pubDate>Thu, 04 Aug 2011 00:00:00 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Seeding-and-nuturing-new-writing-for-the-stage]]></link>     
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     <guid isPermaLink="true"><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/The-inaugural-HAPPY-DAYS-Enniskillen-International]]></guid>
     <title><![CDATA[The inaugural HAPPY DAYS Enniskillen International Beckett Festival ]]></title>
     <description><![CDATA[Ask any inveterate arts lover in the north to pick out some of his or her best memories in the theatre over the past couple of decades and the chances are that on the list will be at least one of the following: the magical world of the Philippe Genty Company; Maly Drama Theatre of St. Petersburg&rsquo;s thrilling Gaudeamus; the bewitching nocturnal promenade through the streets of Derry, led by Gardzienice, the experimental company from a tiny village in Poland; Fiona Shaw&rsquo;s spine-tingling Electra, performed in a sports hall in Derry on a night of terrible bloodshed in the city; Juliet Stephenson&rsquo;s...]]></description>
     <pubDate>Tue, 03 Jul 2012 00:00:00 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/The-inaugural-HAPPY-DAYS-Enniskillen-International]]></link>     
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     <guid isPermaLink="true"><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/To-try-for-something-extraordinary]]></guid>
     <title><![CDATA[To try for something extraordinary]]></title>
     <description><![CDATA[Fintan: I first encountered your work in 2003 around the time Blue was performed at Project Arts Centre. There was great excitement about the writing itself, but also about the fact that you were a female writer with Irish and Indian heritage seemed to grab people&rsquo;s attention. Do you recall how you felt about the ways in which your work was received or framed initially, and how has your attitude to this changed over time, and indeed other people&rsquo;s reaction to you and your work?
Ursula: I think I was amazed at the reaction to my early work. That was partly to do with the fact that I...]]></description>
     <pubDate>Tue, 26 Jun 2012 00:00:00 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/To-try-for-something-extraordinary]]></link>     
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     <guid isPermaLink="true"><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Letting-go-the-desire-to-express]]></guid>
     <title><![CDATA[Letting go the desire to express]]></title>
     <description><![CDATA[Choreographic primers used to be dull enough reads. Compulsory reading for unimaginatively titled courses, like Dance Composition, they rarely led aspiring choreographers to greatness (although their building-block approach helped many uninspired dancers to scrape through an obligatory course in choreography). There was also a closed-shop devotion to each author, so those who adored Doris Humphrey's The Art of Making Dances would more than likely be advocates of Humphrey-Limon technique and wouldn't dream of reading what Erick Hawkins might have to say about the act of choreography.

Jonathan...]]></description>
     <pubDate>Wed, 02 May 2012 00:00:00 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Letting-go-the-desire-to-express]]></link>     
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     <guid isPermaLink="true"><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/It-s-time-to-walk-the-wire]]></guid>
     <title><![CDATA[It's time to walk the wire]]></title>
     <description><![CDATA[&quot;You get one chance to dance

To stand in the fire

One shot to explode

It&rsquo;s time to walk the wire&quot;

...is just one set of lyrics to hit the Alice In Funderland rehearsal room floor in an epic culling of text and song this week. Cutting favourite scenes, lines, and in this case song, is flippantly referred to as &lsquo;killing babies&rsquo; in the theatre. The saying oversells the agony, but it&rsquo;s painful nonetheless. It&rsquo;s technical rehearsal week in the theatre &ndash; the time when lights, visuals, sound, music, set, costume, hair, make-up, singing, dancing...]]></description>
     <pubDate>Tue, 27 Mar 2012 00:00:00 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/It-s-time-to-walk-the-wire]]></link>     
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     <guid isPermaLink="true"><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Singing-Out-Your-Feelings]]></guid>
     <title><![CDATA[Singing Out Your Feelings]]></title>
     <description><![CDATA[Fintan: Wayne, you&rsquo;re coming straight from rehearsals for Alice in Funderland. How have they been going?
Wayne: We&rsquo;re at a stage now where things are starting to happen very quickly. There&rsquo;s a lot of material to learn, and now that people know it, things can move more quickly, so that&rsquo;s really exciting. Plus, we&rsquo;ve been in Act One for a really long time, so it&rsquo;s fun to be moving into Act Two which is very different. It&rsquo;s this section that&rsquo;s changed the most since we did the work-in-progress in Project in January 2011. Also the design feels very present...]]></description>
     <pubDate>Fri, 30 Mar 2012 00:00:00 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Singing-Out-Your-Feelings]]></link>     
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     <guid isPermaLink="true"><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Contemporary-Dance-in-2011]]></guid>
     <title><![CDATA[Confidence and sure-footedness: Irish Contemporary Dance in 2011]]></title>
     <description><![CDATA[Much of what happened in dance during 2011 gave hope for the future. But some of what happened gave fear for the past. Emerging choreographers came of age, organisations celebrated anniversaries and new developments countered the bleakness caused by growing unemployment, emigration and general social pessimism. But the demise of Daghdha Dance Company, coupled with the prevailing belt-tightening austerity, brought us back to the recessionary 1980s, when the Arts Council axed a national ballet and contemporary dance company. Some impressive choreography made its way onstage over the past twelve months,...]]></description>
     <pubDate>Mon, 30 Jan 2012 00:00:00 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Contemporary-Dance-in-2011]]></link>     
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     <guid isPermaLink="true"><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Gary-Mitchell---An-independent-voice]]></guid>
     <title><![CDATA[Gary Mitchell - An independent voice]]></title>
     <description><![CDATA[His plays, for stage and radio, did not to make for comfortable viewing, given their uncompromising portrayal of violent political and paramilitary feuding and bitter domestic conflict within a closed, intensely private world. They offered a new, unfamiliar and uneasy version of Irishness, not previously witnessed on stage. But producers and audiences across Ireland, in London and far beyond were drawn to the powerful edge of the writing, the twisting, high-tension narratives, the biting black humour and the true-to-life characters.

One by one, in a great flood of productivity, they tumbled...]]></description>
     <pubDate>Mon, 20 Feb 2012 00:00:00 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Gary-Mitchell---An-independent-voice]]></link>     
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     <guid isPermaLink="true"><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Trading-roots-and-rebuilding-a-reputation]]></guid>
     <title><![CDATA[Trading roots and rebuilding a reputation]]></title>
     <description><![CDATA[Earlier this week, an American left Washington for Ireland in order to trace his roots back to a small village in Offaly. (You may have heard something about it). At roughly the same time, a Kildare-based Irish theatre company found itself in Washington mining the cultural history of a historical Irish ghetto called Swampoodle, reborn as a site-specific production. Culture Ireland, the state agency for the promotion of Irish arts worldwide, does not usually facilitate two-way traffic, but this time it had a significant part in both events.
For the public celebration of President Barack Obama&rsquo;s...]]></description>
     <pubDate>Thu, 26 May 2011 15:06:04 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Trading-roots-and-rebuilding-a-reputation]]></link>     
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     <guid isPermaLink="true"><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Dance-criticism-in-the-online-zone]]></guid>
     <title><![CDATA[Dance criticism in the online zone]]></title>
     <description><![CDATA[&ldquo;Snark&rdquo;, according to US film critic David Denby, is abuse of a particular kind: personal, low, teasing, rug-pulling, finger-pointing, snide, obvious and knowing. In his book, Snark, he writes that it has infected journalism and common discourse, largely through Web 2.0. Now everybody is a vessel of opinion and a well-turned 140-character phrase can turn viral. A snark can become a meme.
For journalists, an error can easily be corrected online and is a minor worry, but the fear of getting left behind the zeitgeist has become a terror. &ldquo;It is this anxiety, particularly among young...]]></description>
     <pubDate>Tue, 24 May 2011 12:37:22 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Dance-criticism-in-the-online-zone]]></link>     
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     <guid isPermaLink="true"><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/A-new-direction-for-Corcadorca]]></guid>
     <title><![CDATA[A new direction for Corcadorca?]]></title>
     <description><![CDATA[The newly-refurbished Triskel Arts Centre in Cork city officially opened its doors last week. The venue, which now comprises Triskel&rsquo;s original centre and, adjoining it, a restored twelfth-century church with the new name of Triskel Christchurch, will function as a multi-disciplinary hub, incorporating an arthouse cinema, revamped exhibition spaces and a recital hall. It also includes a theatre residency for Corcadorca Theatre Company, who will manage the space as a Theatre Development Centre, a focal point for the incubation of new work for what is often viewed as a disconnected and under-active...]]></description>
     <pubDate>Wed, 27 Apr 2011 16:29:41 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/A-new-direction-for-Corcadorca]]></link>     
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     <guid isPermaLink="true"><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Classic-Stage-Ireland-s-modus-operandi]]></guid>
     <title><![CDATA[Classic Stage Ireland's modus operandi]]></title>
     <description><![CDATA[Watching Andy Hinds at work in the rehearsal room, it is clear he is an experienced teacher of classical drama. He stops the actors several times to question them about how the pace of a delivered verse can elucidate the meaning for the audience; to make them repeat and enunciate until the message of their speeches is clear.

With a copy of his own translation of Iphigenia at Aulis in his hands, Hinds understands this point more clearly than he ever has before, despite having previously directed tens of Shakespeare plays and Greek classics. &ldquo;Being the translator gives you a more intimate...]]></description>
     <pubDate>Fri, 17 Jun 2011 00:00:00 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Classic-Stage-Ireland-s-modus-operandi]]></link>     
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     <guid isPermaLink="true"><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Into-the-literary-labyrinth]]></guid>
     <title><![CDATA[Into the literary labyrinth ]]></title>
     <description><![CDATA[To a new playwright, it can seem impossible to find a point of entry into a large theatre like the Abbey. While Ireland&rsquo;s national theatre has consistently staged new work, it seemed of late to focus on the new work of established writers such as Tom Murphy, Marina Carr and Billy Roche, to name a few. This is why, as a playwright myself, I found it particularly exciting to see two new plays by emerging writers scheduled for full runs on the Peacock stage. Indeed, a quick glance at the Abbey programme for this Spring suggests a return to the basics for the national theatre, where the introduction...]]></description>
     <pubDate>Thu, 14 Apr 2011 11:01:18 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Into-the-literary-labyrinth]]></link>     
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     <guid isPermaLink="true"><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Belfast-s-Lyric-Theatre-opens-doors-to-new-talent]]></guid>
     <title><![CDATA[Belfast's Lyric Theatre opens doors to new talent ]]></title>
     <description><![CDATA[For over forty years, a granite keystone engraved with lines by W. B. Yeats sat directly above the entrance of Belfast&rsquo;s Lyric Theatre, signalling its founder Mary O&rsquo;Malley&rsquo;s aspiration that this should be a poet&rsquo;s theatre. Now that stone has found a new home inside the splendid, rebuilt playhouse beside the River Lagan, where the latest chapter in the Lyric&rsquo;s history is about to begin.
&ldquo;Look up in the Sun's eye and give/ What the exultant heart calls good/ That some new day may breed the best/ Because you gave, not what they would/ But the right twigs for an...]]></description>
     <pubDate>Mon, 18 Apr 2011 16:20:39 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Belfast-s-Lyric-Theatre-opens-doors-to-new-talent]]></link>     
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     <guid isPermaLink="true"><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/History--politics-and-Puccini]]></guid>
     <title><![CDATA[History, politics and Puccini]]></title>
     <description><![CDATA[Northern Ireland has a new opera company. It&rsquo;s called, unsurprisingly, NI Opera. But its artistic director Oliver Mears is determined that this willbe one of the few predictable aspects of an organization that aims to break down cultural and social barriers and dispel preconceptions surrounding the art form. When it is announced that its first independent production will comprise &ldquo;three innovative, site-specific performances&rdquo; of Tosca in Derry, the initial reaction is that its main selling point must be a final scene in which the central character throws herself off the city walls....]]></description>
     <pubDate>Mon, 28 Mar 2011 13:44:54 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/History--politics-and-Puccini]]></link>     
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     <guid isPermaLink="true"><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Pan-Pan---A-theatre-of-ideas]]></guid>
     <title><![CDATA[Pan Pan : A theatre of ideas]]></title>
     <description><![CDATA[Fintan Walsh: Gavin, could you tell us about your latest project, the general concept behind it, and the rehearsal process? 

Gavin Quinn: We&rsquo;ve done a new recording of Beckett&rsquo;s All That Fall, and we recorded it over two weeks, whereas a radio play is normally done over three days. Then we edited it over three weeks, so it takes a lot more time and dedication. But it&rsquo;s recorded to play aloud, it&rsquo;s not recorded for a radio. It&rsquo;s been recorded in an anechoic space, so there are no sound reflections. It&rsquo;s just the voice. You start with voice and build. So it&rsquo;s...]]></description>
     <pubDate>Sat, 20 Aug 2011 00:00:00 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Pan-Pan---A-theatre-of-ideas]]></link>     
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     <guid isPermaLink="true"><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/London-Letter--staging-global-phenomena]]></guid>
     <title><![CDATA[London Letter: theatre goes global]]></title>
     <description><![CDATA[Can you stage the inconceivable? Does theatre have particular qualities that might help people comprehend concepts and phenomena so much bigger than ourselves that we struggle to even articulate them in words? These are the questions that have most been on my mind as I&rsquo;ve contemplated the onslaught of climate change-themed plays that have hit London stages this year. From the National Theatre&rsquo;s multi-authored, elaborately staged Greenland, to Richard Bean&rsquo;s zinger-laden The Heretic at the Royal Court, to the revival of Filter theatre company&rsquo;s slick, collaborative piece,...]]></description>
     <pubDate>Thu, 17 Mar 2011 17:41:22 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/London-Letter--staging-global-phenomena]]></link>     
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     <guid isPermaLink="true"><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Letting-his-inner-critic-loose-on-the-world]]></guid>
     <title><![CDATA[Letting his inner critic loose ]]></title>
     <description><![CDATA[Michael Keegan-Dolan can take criticism, but he&rsquo;s not exactly fond of it. That hardly makes him a unique figure among creative artists, but the artistic director of Fabulous Beast, Ireland&rsquo;s most successful dance theatre company, is remarkably responsive to it; never more alert to its power to promote or inhibit than when his criticism stems from within. &ldquo;I had a feeling that I have a part of my nature that is very critical,&rdquo; Keegan-Dolan told an audience in Longford&rsquo;s Backstage Theatre shortly before Christmas last year, &ldquo;and I wanted to look at that more closely...]]></description>
     <pubDate>Tue, 08 Mar 2011 11:19:54 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/Letting-his-inner-critic-loose-on-the-world]]></link>     
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     <guid isPermaLink="true"><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/IETM-Dublin-meeting--Tried-and-Trusted]]></guid>
     <title><![CDATA[IETM Dublin meeting: Tried and Trusted]]></title>
     <description><![CDATA[IETM&rsquo;s primary purpose has always been about networking and &lsquo;if anything, [it] is built on trust,&rsquo; says IETM board president and artistic director of Dansen Hus Virve Sutinen. &lsquo;It is a network of people and ideas, and it is at the same time informal and formal.&rsquo; Producers and artists from around Europe and further abroad come together every six months to reconnect, exchange ideas and forge new relationships. For the uninitiated, it can seem intimidating the first time around, and indeed that was the abiding sensation as I attended sessions and shared the odd encounter...]]></description>
     <pubDate>Mon, 22 Apr 2013 00:00:00 GMT</pubDate>
     <link><![CDATA[http://www.irishtheatremagazine.ie/Features/Current/IETM-Dublin-meeting--Tried-and-Trusted]]></link>     
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