Theatre for Young Audiences in Ireland

Research output: Chapter in Book/Report/Conference proceedingChapter

Abstract

This chapter examines the developing sector of Theatre for Young Audiences (TYA) from its roots in educational theatre for children in the 1970s and 1980s through companies like TEAM, Graffiti and Replay into one of the most innovative and flourishing fields of contemporary theatrical practice across the island. The argument is that as a sector and field of practice TYA continues to resist nationalist imperatives through its aesthetic practices and organisational structures. TYA performances are always resolutely ‘local’ in their engagement with specific audiences. This is most obviously articulated in the specific touring circuits for performances; the development of festivals for children arts in Dublin and in a number of regional cities; and in the creation of specialist venues for children’s arts and theatre. At the same time, the sector is characterised by direct engagement with models of practice which are shared widely internationally, producing aesthetic forms the lineage of which owes little to specifically Irish theatrical traditions, whether that be the TiE models adapted from the UK or approaches to visual theatre or modes of performance adopted from continental Europe; or texts that have been adapted, translated or imported. Critical to this is the function of the international dimension of children's festivals in Ireland and abroad in showcasing and sharing theatrical practices and issues. In this sense then, this sector of irish theatre serves to work against the sense of ‘Irishness’ as a globalised commodity and the function of theatre to reflect national rather than local concerns.
LanguageEnglish
Title of host publicationThe Palgrave Handbook of Contemporary Irish Theatre and Performance
EditorsEamonn Jordan, Eric Weitz
Place of PublicationLondon
Pages151-164
Number of pages14
Edition1st
Publication statusPublished - 7 Oct 2018

Fingerprint

Ireland
Aesthetics
Touring
Organizational Structure
Art
Irish Theatre
Child Art
Nationalists
Education
Dublin
Venues
1980s
1970s
Flourishing
Continental
Irishness
Graffiti
Commodities

Keywords

  • Theatre for Young Audiences
  • Irish Theatre
  • Festivals

Cite this

Maguire, T. (2018). Theatre for Young Audiences in Ireland. In E. Jordan, & E. Weitz (Eds.), The Palgrave Handbook of Contemporary Irish Theatre and Performance (1st ed., pp. 151-164). London.
Maguire, Thomas. / Theatre for Young Audiences in Ireland. The Palgrave Handbook of Contemporary Irish Theatre and Performance. editor / Eamonn Jordan ; Eric Weitz. 1st. ed. London, 2018. pp. 151-164
@inbook{a1360833aa224393af2f2290db4c1318,
title = "Theatre for Young Audiences in Ireland",
abstract = "This chapter examines the developing sector of Theatre for Young Audiences (TYA) from its roots in educational theatre for children in the 1970s and 1980s through companies like TEAM, Graffiti and Replay into one of the most innovative and flourishing fields of contemporary theatrical practice across the island. The argument is that as a sector and field of practice TYA continues to resist nationalist imperatives through its aesthetic practices and organisational structures. TYA performances are always resolutely ‘local’ in their engagement with specific audiences. This is most obviously articulated in the specific touring circuits for performances; the development of festivals for children arts in Dublin and in a number of regional cities; and in the creation of specialist venues for children’s arts and theatre. At the same time, the sector is characterised by direct engagement with models of practice which are shared widely internationally, producing aesthetic forms the lineage of which owes little to specifically Irish theatrical traditions, whether that be the TiE models adapted from the UK or approaches to visual theatre or modes of performance adopted from continental Europe; or texts that have been adapted, translated or imported. Critical to this is the function of the international dimension of children's festivals in Ireland and abroad in showcasing and sharing theatrical practices and issues. In this sense then, this sector of irish theatre serves to work against the sense of ‘Irishness’ as a globalised commodity and the function of theatre to reflect national rather than local concerns.",
keywords = "Theatre for Young Audiences, Irish Theatre, Festivals",
author = "Thomas Maguire",
year = "2018",
month = "10",
day = "7",
language = "English",
isbn = "978-1-137-58587-5",
pages = "151--164",
editor = "Eamonn Jordan and Eric Weitz",
booktitle = "The Palgrave Handbook of Contemporary Irish Theatre and Performance",
edition = "1st",

}

Maguire, T 2018, Theatre for Young Audiences in Ireland. in E Jordan & E Weitz (eds), The Palgrave Handbook of Contemporary Irish Theatre and Performance. 1st edn, London, pp. 151-164.

Theatre for Young Audiences in Ireland. / Maguire, Thomas.

The Palgrave Handbook of Contemporary Irish Theatre and Performance. ed. / Eamonn Jordan; Eric Weitz. 1st. ed. London, 2018. p. 151-164.

Research output: Chapter in Book/Report/Conference proceedingChapter

TY - CHAP

T1 - Theatre for Young Audiences in Ireland

AU - Maguire, Thomas

PY - 2018/10/7

Y1 - 2018/10/7

N2 - This chapter examines the developing sector of Theatre for Young Audiences (TYA) from its roots in educational theatre for children in the 1970s and 1980s through companies like TEAM, Graffiti and Replay into one of the most innovative and flourishing fields of contemporary theatrical practice across the island. The argument is that as a sector and field of practice TYA continues to resist nationalist imperatives through its aesthetic practices and organisational structures. TYA performances are always resolutely ‘local’ in their engagement with specific audiences. This is most obviously articulated in the specific touring circuits for performances; the development of festivals for children arts in Dublin and in a number of regional cities; and in the creation of specialist venues for children’s arts and theatre. At the same time, the sector is characterised by direct engagement with models of practice which are shared widely internationally, producing aesthetic forms the lineage of which owes little to specifically Irish theatrical traditions, whether that be the TiE models adapted from the UK or approaches to visual theatre or modes of performance adopted from continental Europe; or texts that have been adapted, translated or imported. Critical to this is the function of the international dimension of children's festivals in Ireland and abroad in showcasing and sharing theatrical practices and issues. In this sense then, this sector of irish theatre serves to work against the sense of ‘Irishness’ as a globalised commodity and the function of theatre to reflect national rather than local concerns.

AB - This chapter examines the developing sector of Theatre for Young Audiences (TYA) from its roots in educational theatre for children in the 1970s and 1980s through companies like TEAM, Graffiti and Replay into one of the most innovative and flourishing fields of contemporary theatrical practice across the island. The argument is that as a sector and field of practice TYA continues to resist nationalist imperatives through its aesthetic practices and organisational structures. TYA performances are always resolutely ‘local’ in their engagement with specific audiences. This is most obviously articulated in the specific touring circuits for performances; the development of festivals for children arts in Dublin and in a number of regional cities; and in the creation of specialist venues for children’s arts and theatre. At the same time, the sector is characterised by direct engagement with models of practice which are shared widely internationally, producing aesthetic forms the lineage of which owes little to specifically Irish theatrical traditions, whether that be the TiE models adapted from the UK or approaches to visual theatre or modes of performance adopted from continental Europe; or texts that have been adapted, translated or imported. Critical to this is the function of the international dimension of children's festivals in Ireland and abroad in showcasing and sharing theatrical practices and issues. In this sense then, this sector of irish theatre serves to work against the sense of ‘Irishness’ as a globalised commodity and the function of theatre to reflect national rather than local concerns.

KW - Theatre for Young Audiences

KW - Irish Theatre

KW - Festivals

UR - https://www.palgrave.com/gp/book/9781137585875

M3 - Chapter

SN - 978-1-137-58587-5

SP - 151

EP - 164

BT - The Palgrave Handbook of Contemporary Irish Theatre and Performance

A2 - Jordan, Eamonn

A2 - Weitz, Eric

CY - London

ER -

Maguire T. Theatre for Young Audiences in Ireland. In Jordan E, Weitz E, editors, The Palgrave Handbook of Contemporary Irish Theatre and Performance. 1st ed. London. 2018. p. 151-164