LIONEL PILKINGTON

Lionel Pilkington is a graduate of University College Cork and the University of Toronto. He teaches drama and theatre studies, Irish theatre history, colonialism and cultural theory, and cultural politics. His research interests include twentieth-century Irish theatre, the playwright J. M. Synge, and minorities in Irish culture. 
He is currently writing a monograph entitled Theatricality, Agency and Irish Cultural Politics, 1900-2000. The book focuses on non-institutional theatre and performance practices in 20th century Ireland ranging from fairground games in the early 1900s to jazz dancing in the 1930s, from costume balls to state pageants, and from prison protests to orange marches.

Recent Publications

[ Essay] ’Drumcree and the Celtic Tiger: the Cultural Legacy of Anti-Catholicism in Ireland,’ in Peadar Kirby, Luke Gibbons and Michael Cronin (eds) Reinventing Ireland: Culture and the Celtic Tiger (London: Pluto Press, 2002) 124-42.

[ Essay] ’Murphy, History and Society: A Response’, in Nicholas Grene, (ed.) Talking About Murphy (Dublin: Carysfort Press, 2002) 33-39.

[ Essay] ’"The Most Unpopular Man in Ireland": P.D. Kenny, J. M. Synge and Irish Cultural History,’ Irish Review 29 (Autumn 2002) 51-7.

[ Essay] ’The Abbey Theatre and the Irish State’ in Shaun Richards (ed.) The Cambridge Companion to Twentieth-Century Irish Theatre (Cambridge: Cambridge University Press, 2003) 231-43.

[ Essay] ’From Big House to People’s Park’, Irish Arts Review (Autumn, 2003): 104-07.

[ Review] ’Review of Joe Cleary, Literature, Partition and the Nation State,’ Textual Practice 18 (2004) 126-31.

[ Essay] ’ The Playboy of the Western World as Cultural Event’, in Adrian Frazier (ed.) Playboys of the Western World: Production Histories (Dublin: Carysfort Press, 2004): 161-66.

[ Article] ’Abbey Stage is no place to be doing business,’ Irish Examiner, 24 December 2004: 10.

 [ Review Article] ’Historicizing is not Enough: Recent Developments and Trends in Irish Theatre History’, Modern Drama, 47. 4 (Winter 2004) 721-31.

[ Essay] ’Theatre and Colonialism in Ireland,’ in Terrence McDonough (ed.) Was Ireland a Colony? (Dublin: Irish Academic Press, 2005) 299-308.

 [ Review] ’Review of Helen Burke, Riotous Performances: The Struggle for Hegemony in the Irish Theater, 1712-1784. (University of Notre Dame Press: Notre Dame, IN, 2003)’, European History Quarterly, 35.1: pp.182-84.

[ Essay--forthcoming] ’Reading History in the Plays of Brian Friel’, in Mary Lockhurst (ed.) The Blackwells Companion to Modern British and Irish Drama (Oxford: Blackwell, 2006).

Selected Publications

Theatre and the State in 20thC Ireland: Cultivating the People (London: Routledge, 2001)

’Theatre History and the Beginnings of the Irish National Theatre Project’, in Eamonn Jordan (ed.) Theatre Stuff: Critical Essays on Contemporary Irish Theatre (Dublin: Carysfort Press, 2000). 27-33.

’Irish Theater Historiography and Political Resistance’, in Jeanne Colleran and Jenny S. Spenser (eds) Staging Resistance: Essays on Political Theater (Ann Arbor: University of Michigan Press, 1998). 13-30.

'Questioning Irish Protestantism,’ Graph: Irish Cultural Review 3.1 (1998): 2-3.

’"Every Crossing Sweeper Thinks Himself a Moralist": The Critical Role of Audiences in Irish Theatrical History’, Irish University Review 27.1 (Spring/Summer 1997): 152-165.

’Theatre and Cultural Politics in Northern Ireland: The Over the Bridge Controversy, 1959’, Éire-Ireland 30.4 (Geimhreadh-Winter 1996): 76-93.

’Dan Baron Cohen: Resistance to Liberation with Derry Frontline Culture and Education’, TDR: The Drama Review 38.4 (Winter 1994): 17-47.

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