This book examines the surge of queer performance produced across Ireland since the first stirrings of the Celtic Tiger in the mid-1990s, up to the passing of the Marriage Equality referendum in the Republic in 2015.

This book offers not only a riveting account of its many forms in Ireland, but acts as a model for reading queer performance transnationally. As such, it is valuable beyond the context of Irish theatre to wider studies of queer performance and queer studies in general. (Alyson Campbell, Contemporary Theatre Review, Vol. 27 (1), 2017)

Its scope is challenging and in the best sense of the word thoughtprovoking the depth of its theoretical framework is highly interdisciplinary and refreshing and the performances it looks at approach the topic of the book from many varied points of view. One of the strong fortes of the book is the presentation of the argument: the performances always take centre stage and are presented and discussed in very satisfactory detail and depth. An enjoyable and stirring read. (Michael Heinze, Theater Forschung, theaterforschung.de, May, 2016)

Autorentext
Fintan Walsh is Senior Lecturer in Theatre and Performance Studies in the Department of English and Humanities at Birkbeck, University of London, UK, where he is Co-Director of the Centre for Contemporary Theatre. Recent publications include Theatre & Therapy (2013), Male Trouble: Masculinity and the Performance of Crisis (2010), and the edited collection 'That Was Us': Contemporary Irish Theatre and Performance (2013). He is Associate Editor of Theatre Research International .

Inhalt

1. Introduction: Queer Performance and Contemporary Ireland
2. Activism, Drag and Solo Performance
3. Reparative Therapies and Political Performers
4. Transforming Shame and Testimonial Performance
5. Intergenerational Moves and Documentary Theatre
6. Sex, Class and the City: Site-Specific Roots and Routes
7. Vertiginous Loss, Love and Belonging on the National Stage
   Afterword: Reeling-Feeling
   Bibliography
   Index