Since then, the primary focus of my research has been on twentieth-century British drama, and in particular the issue of censorship. As a Postdoctoral Fellow in the Theatre department of the University of Warwick, I interviewed a number of dramatists and theatre practitioners to write the final chapter of Theatre Censorship: From Walpole to Wilson (Oxford University Press, 2007). In doing so, I met Arnold Wesker in 2003, who invited me to consult the private archive he had compiled over his play The Journalists, rejected by the Royal Shakespeare Company in 1972. This meeting opened up my second field of research, and I have since further interviewed him, translated his Shylock, and published on his work, more recently in Arnold Wesker: Fragments and Visions (Intellect, 2021), co-edited with Graham Saunders.
I have recently completed two edited volumes on censorship - Adult Themes. British Cinema and the X Certificate in the Long 1960s (Bloomsbury, 2023), with Benjamin Halligan and Christopher Weedman, and Theatre Censorship in Contemporary Europe (University of Exeter Press, 2024) with Chris Megson. I am finalising, with Graham Saunders, the Palgrave Handbook of Theatre Censorship (2024). I am co-series editor of the new book series Palgrave Studies in Cultural Censorship.
My next research project on Wesker's work will begin in June 2024 with a visit to his archives at the Harry Ransom Center, University of Texas in Austin, which has awarded me a Fellowship.
The issues call for an inter-disciplinary approach (literary and historical) and my work therefore involves a reflection on the political as well as cultural context.
My first research field was devoted to the issue of theatre censorship.
I have published extensively on the topic in England and abroad (see publications). When I finished my doctoral research, accounts of theatre censorship in England had so far focused on the activities of the Lord Chamberlain and his Readers, and the impact of censorship on the work of individual playwrights. In contrast, the history of censorship legislation has been neglected. My postdoctoral Fellowship enabled me to explore newly accessible archives and to interview political and artistic figures of the 1960s. Through its extensive investigation of political and personal archives, supplemented by a questionnaire survey and telephone and face-to-face interviews which I led, Theatre Censorship: from Walpole to Wilson (OUP, 2007) offers a completely new perspective on English cultural history.
The volume traces the hidden alliances and compacts that helped to prevent the abolition of theatre censorship so that successive Governments during the twentieth century might be assured of a politically docile stage. In addition, are documented the regular private consultations between successive Lords Chamberlain and different Government ministers, which ensured that political censorship could be exercised without any public awareness of the fact. Despite objections from the Queen, and opposition from Harold Wilson (which had resulted in Roy Jenkins, the Home Secretary, making resignation threats), theatre censorship was finally abolished in 1968 when a new statute was enacted giving the stage the same freedom under the law as any other form of artistic expression.
Since then, I have expanded my research in censorship to observe its shifting forms beyond Britain, and beyond theatre - such as in Adult Themes. British Cinema and the X Certificate in the Long 1960s (Bloomsbury, 2023), which I co-edited with Benjamin Halligan and Christopher Weedman, a volume which tapped into my dual interest in censorship and the Sixties.
The contemporary era, dominated by culture wars, shows that if censorship is not a new concept it remains a subject for radical investigation as it continues to expand its oppressive and restrictive presence globally. My latest edited collections respond to global and contemporary questionings about the definitions, forms, sources, scopes, and consequences of censorship. In Theatre Censorship in Contemporary Europe. Silence and Protest (UEP, 2024), co-edited with Chris Megson, the objective was to take the fall of the Berlin Wall in 1989 and its associated radical ideologies as a starting point to re-assess how the unifying movement of Europe and particular national politics have affected artistic creation and free expression. In the forthcoming Palgrave Handbook of Theatre Censorship (2024), co-edited with Graham Saunders, the impetus was to gather international scholars to query how theatre censorship has evolved across centuries and continents, serving as disciplinarian in democracies and dictatorships alike, re-inventing itself even when officially abolished to the point that its presence and terminology itself is questioned. To pursue this crucial investigation into the limits of artistic freedom and expand it to a wider cultural field, Graham Saunders and I are co-editing a new series, the Palgrave Studies in Cultural Censorship.
In my postdoctoral interviews with surviving politicians and playwrights in 2002-2003, there were compelling moments of insight and explanation, and my published work on censorship is making use of this interdisciplinary methodology which very much defines my work. My research on censorship led me to meet Arnold Wesker, which initiated my second field of research.
Having initially discussed censorship with him, I became curious about the eclectic nature of his dramaturgy as well as the striking arc of his career, from lauded champion of kitchen sink drama to sidelined or forgotten figure of the 60s. Thus began my journey into trying to understand what happened to Wesker and his plays. After writing a first article for the Dictionary of Literary Biography, British and Irish Playwrights Since World War II, in 2004 I was awarded a Fellowship by the Harry Ransom Center, University of Austin, Texas, to research the Wesker archives. The visit into the first two accessions, and a further interview with Wesker in 2013 sustained my publications - redefining his impact on stage and in cultural terms in "Visions Don't Work" (published in Studies in Theatre and performance), questioning and translating his Shylock, considering his lesser-known plays - up to the edited volume Arnold Wesker: Fragments and Visions (Intellect, 2021).
Since coming to Cork, however, my research interest was drawn to the work of contemporary local theatre activities and in particular by the cultural impact of Corcadorca, a theatre company which emerged in the early 1990s through the collaboration of director Pat Kiernan and dramatist Enda Walsh. Beyond their international acclaim with Disco Pigs, I was drawn by the eclectic artistic duality of the company and its focus on its local audiences. I explored their various employment of site-responsive and site-specific work not only in publications (such as the Journal of Contemporary Drama in English) but also through a funded-DUETS project which revisited the sites of their production of The Merchant of Venice in 2005 and the memories it created in its audience members through oral testimonies. My latest book chapter, in Theatre Censorship in Contemporary Europe. Silence and Protest, reflects on the company closure as a result of a dripfeeding phenomenon of subsidies.
As I was awarded this year a Harry Ransom Center Fellowship to research the now completed collection of Arnold Wesker, my research projects are geared towards more personal book projects on his work.
POSTGRADUATE TEACHING (2011- )
M.A. in American Literature and Film (O'Neill, Williams, Miller, Albee, Mamet)
M.A. in Modernities (O'Neill, Beckett, Stoppard)
M.A. in Irish Writing (Beckett)
Taught modules since 2011:
EN1003 Modern drama (Osborne)
EN1004 Theories - Approaches to theatre
EN2077 Inventing Modern Drama
EN3008 Drama and Controversy
‘Theatre Censorship – a cat and mouse game?’ Invited seminar, PG7004 Master Class Module: Contemporary Theoretical Paradigms in the Humanities and Social Sciences, Knowledge and Control: Historical And Contemporary Perspectives. UCC, June 2013.
Previous teaching (2006-11)
EN2076 Theories of Drama
EN2074 Studies in English Drama after 1660.
EN3091 Theory and Practice
EN3098 Text into Film
EN2006 George Bernard Shaw
DR3010/DR2007: Acting out – Keys to Naturalist Acting (Department of Drama and Theatre Studies)
Biography
In 1992 I completed a B.A. in English and three years of acting training at the Conservatoire National d'Art Dramatique of Orléans. While on an Erasmus exchange in Oxford, I wrote an M.A. thesis on Women's Roles in British Comedies 1880-1930. I spent a year in Oxford as a French assistant, engaging in theatre performances at the Maison Française d'Oxford. I then completed a M.Phil in Drama, 'Silencing & Licensing: the censorship of Shaw's The Shewing-Up of Blanco Posnet' (1995) at the University of Orléans, before embarking on a Ph.D devoted to theatre censorship: 'In the Wings of the Lord Chamberlain's Office: Theatre Censorship 1900-1968'.Since then, the primary focus of my research has been on twentieth-century British drama, and in particular the issue of censorship. As a Postdoctoral Fellow in the Theatre department of the University of Warwick, I interviewed a number of dramatists and theatre practitioners to write the final chapter of Theatre Censorship: From Walpole to Wilson (Oxford University Press, 2007). In doing so, I met Arnold Wesker in 2003, who invited me to consult the private archive he had compiled over his play The Journalists, rejected by the Royal Shakespeare Company in 1972. This meeting opened up my second field of research, and I have since further interviewed him, translated his Shylock, and published on his work, more recently in Arnold Wesker: Fragments and Visions (Intellect, 2021), co-edited with Graham Saunders.
I have recently completed two edited volumes on censorship - Adult Themes. British Cinema and the X Certificate in the Long 1960s (Bloomsbury, 2023), with Benjamin Halligan and Christopher Weedman, and Theatre Censorship in Contemporary Europe (University of Exeter Press, 2024) with Chris Megson. I am finalising, with Graham Saunders, the Palgrave Handbook of Theatre Censorship (2024). I am co-series editor of the new book series Palgrave Studies in Cultural Censorship.
My next research project on Wesker's work will begin in June 2024 with a visit to his archives at the Harry Ransom Center, University of Texas in Austin, which has awarded me a Fellowship.
Research Interests
My research focuses on 20th-century British drama. My interests include theatre censorship and dramatic literature from the 1950s onwards, in particular the theatre of Arnold Wesker.The issues call for an inter-disciplinary approach (literary and historical) and my work therefore involves a reflection on the political as well as cultural context.
My first research field was devoted to the issue of theatre censorship.
I have published extensively on the topic in England and abroad (see publications). When I finished my doctoral research, accounts of theatre censorship in England had so far focused on the activities of the Lord Chamberlain and his Readers, and the impact of censorship on the work of individual playwrights. In contrast, the history of censorship legislation has been neglected. My postdoctoral Fellowship enabled me to explore newly accessible archives and to interview political and artistic figures of the 1960s. Through its extensive investigation of political and personal archives, supplemented by a questionnaire survey and telephone and face-to-face interviews which I led, Theatre Censorship: from Walpole to Wilson (OUP, 2007) offers a completely new perspective on English cultural history.
The volume traces the hidden alliances and compacts that helped to prevent the abolition of theatre censorship so that successive Governments during the twentieth century might be assured of a politically docile stage. In addition, are documented the regular private consultations between successive Lords Chamberlain and different Government ministers, which ensured that political censorship could be exercised without any public awareness of the fact. Despite objections from the Queen, and opposition from Harold Wilson (which had resulted in Roy Jenkins, the Home Secretary, making resignation threats), theatre censorship was finally abolished in 1968 when a new statute was enacted giving the stage the same freedom under the law as any other form of artistic expression.
Since then, I have expanded my research in censorship to observe its shifting forms beyond Britain, and beyond theatre - such as in Adult Themes. British Cinema and the X Certificate in the Long 1960s (Bloomsbury, 2023), which I co-edited with Benjamin Halligan and Christopher Weedman, a volume which tapped into my dual interest in censorship and the Sixties.
The contemporary era, dominated by culture wars, shows that if censorship is not a new concept it remains a subject for radical investigation as it continues to expand its oppressive and restrictive presence globally. My latest edited collections respond to global and contemporary questionings about the definitions, forms, sources, scopes, and consequences of censorship. In Theatre Censorship in Contemporary Europe. Silence and Protest (UEP, 2024), co-edited with Chris Megson, the objective was to take the fall of the Berlin Wall in 1989 and its associated radical ideologies as a starting point to re-assess how the unifying movement of Europe and particular national politics have affected artistic creation and free expression. In the forthcoming Palgrave Handbook of Theatre Censorship (2024), co-edited with Graham Saunders, the impetus was to gather international scholars to query how theatre censorship has evolved across centuries and continents, serving as disciplinarian in democracies and dictatorships alike, re-inventing itself even when officially abolished to the point that its presence and terminology itself is questioned. To pursue this crucial investigation into the limits of artistic freedom and expand it to a wider cultural field, Graham Saunders and I are co-editing a new series, the Palgrave Studies in Cultural Censorship.
In my postdoctoral interviews with surviving politicians and playwrights in 2002-2003, there were compelling moments of insight and explanation, and my published work on censorship is making use of this interdisciplinary methodology which very much defines my work. My research on censorship led me to meet Arnold Wesker, which initiated my second field of research.
Having initially discussed censorship with him, I became curious about the eclectic nature of his dramaturgy as well as the striking arc of his career, from lauded champion of kitchen sink drama to sidelined or forgotten figure of the 60s. Thus began my journey into trying to understand what happened to Wesker and his plays. After writing a first article for the Dictionary of Literary Biography, British and Irish Playwrights Since World War II, in 2004 I was awarded a Fellowship by the Harry Ransom Center, University of Austin, Texas, to research the Wesker archives. The visit into the first two accessions, and a further interview with Wesker in 2013 sustained my publications - redefining his impact on stage and in cultural terms in "Visions Don't Work" (published in Studies in Theatre and performance), questioning and translating his Shylock, considering his lesser-known plays - up to the edited volume Arnold Wesker: Fragments and Visions (Intellect, 2021).
Since coming to Cork, however, my research interest was drawn to the work of contemporary local theatre activities and in particular by the cultural impact of Corcadorca, a theatre company which emerged in the early 1990s through the collaboration of director Pat Kiernan and dramatist Enda Walsh. Beyond their international acclaim with Disco Pigs, I was drawn by the eclectic artistic duality of the company and its focus on its local audiences. I explored their various employment of site-responsive and site-specific work not only in publications (such as the Journal of Contemporary Drama in English) but also through a funded-DUETS project which revisited the sites of their production of The Merchant of Venice in 2005 and the memories it created in its audience members through oral testimonies. My latest book chapter, in Theatre Censorship in Contemporary Europe. Silence and Protest, reflects on the company closure as a result of a dripfeeding phenomenon of subsidies.
As I was awarded this year a Harry Ransom Center Fellowship to research the now completed collection of Arnold Wesker, my research projects are geared towards more personal book projects on his work.
Research Grants
| Project | Funding Body | Start Date | End Date | Award | |
|---|---|---|---|---|---|
| Digging Arnold Wesker | Harry Ransom Research fellowships | 01-JUN-24 | 01-JUL-24 | €4,000.00 | |
| Enterprise Ireland; H2020 - Proposal Preparation Support; CS20171794; Anne Etienne; "The Censorship of Performing Arts in Contemporary Europe: a Comparative Analysis" | Enterprise Irl | 13-APR-17 | 12-JAN-18 | €1,519.00 | |
| Theatre Censorship | Enterprise Irl | 04-DEC-15 | 03-SEP-16 | €2,950.00 | |
| Creation and Reception: Corcadorca's Live Archive | College of Arts, Celtic Studies & Social Sciences | 17-MAY-15 | 27-JUN-15 | €5,000.00 | |
| Theatre programme | Other: Not Listed | 26-JUN-14 | 28-JUN-14 | €500.00 | |
| Contemporary Variations around Shylock | Other: Not Listed | 16-JUN-13 | 16-JUN-13 | €500.00 | |
| Arnold Wesker | Harry Ransom Research fellowships | 19-MAR-05 | 17-APR-05 | €4,000.00 | |
| From Walpole to Wilson | British Academy/Leverhulme | 01-APR-01 | 31-JAN-03 | €25,000.00 |
Publications
Books
| Year | Publication | |
|---|---|---|
| (2007) | Theatre Censorship: From Walpole to Wilson. Etienne, Anne; Thomas, David; Carlton, David; (2007) Theatre Censorship: From Walpole to Wilson. Oxford: Oxford University Press. [DOI] [Details] |
Edited Books
| Year | Publication | |
|---|---|---|
| (2024) | Palgrave Handbook of Theatre Censorship Anne Etienne and Graham Saunders (Ed.). (2024) Palgrave Handbook of Theatre Censorship London: Palgrave. [Details] | |
| (2024) | Theatre Censorship in Contemporary Europe: Silence and Protest Anne Etienne and Chris Megson (Ed.). (2024) Theatre Censorship in Contemporary Europe: Silence and Protest Exeter: University of Exeter Press. [DOI] [Details] | |
| (2023) | Adult Themes: British Cinema and the X Certificate in the Long 1960s Anne Etienne, Benjamin Halligan, Christopher Weedman (Ed.). (2023) Adult Themes: British Cinema and the X Certificate in the Long 1960s London: Bloomsbury. [Details] | |
| (2021) | Arnold Wesker: Fragments and Visions Anne Etienne and Graham Saunders (Ed.). (2021) Arnold Wesker: Fragments and Visions Bristol: Intellect. [Details] | |
| (2017) | Perspectives on the Contemporary Irish Stage: Populating the Stage Anne Etienne and Thierry Dubost (Ed.). (2017) Perspectives on the Contemporary Irish Stage: Populating the Stage London: Palgrave. [DOI] [Details] |
Peer Reviewed Journals
| Year | Publication | |
|---|---|---|
| (2017) | '‘(G)hosting Abortion: the Creation of Between Trees and Water.’' Anne Etienne (2017) '‘(G)hosting Abortion: the Creation of Between Trees and Water.’'. Performance Ireland, Gender, Sexuality, City (Special):89-106 [Details] | |
| (2014) | 'Interview with Arnold Wesker and Julia Pascal' Anne Etienne (2014) 'Interview with Arnold Wesker and Julia Pascal'. Coup De Théâtre, (Special) [Details] | |
| (2014) | 'Translation of Arnold Wesker's play Shylock' Anne Etienne and Raymond Gardette (2014) 'Translation of Arnold Wesker's play Shylock'. Coup De Théâtre, (Special) [Details] | |
| (2016) | 'Challenging the Auditorium: Spectatorship(s) in ‘Off-site’ Performances' Anne Etienne (2016) 'Challenging the Auditorium: Spectatorship(s) in ‘Off-site’ Performances'. Journal of Contemporary Drama in English, 4 (1):74-89 [DOI] [Details] | |
| (2016) | '“Visions don’t work”? The role of Wesker’s theatre and Centre 42 in 1960s’ British culture' Anne Etienne (2016) '“Visions don’t work”? The role of Wesker’s theatre and Centre 42 in 1960s’ British culture'. Studies In Theatre and Performance, :1-15 [DOI] [Details] | |
| (2015) | 'Reforming Theatre Censorship: the Lord Chamberlain Caught between the Repressive and the Libertarian Camps' Anne Etienne (2015) 'Reforming Theatre Censorship: the Lord Chamberlain Caught between the Repressive and the Libertarian Camps'. Revue Francaise de Civilisation Britannique, 19 (3):75-93 [Details] | |
| (2013) | 'Naked Censorship: Stripping the Censors’ Discourse' Anne Etienne (2013) 'Naked Censorship: Stripping the Censors’ Discourse'. Revue LISA / LISA e-journal, 11 (3) [DOI] [Details] | |
| (2008) | 'England's trouble is Ireland's opportunity: les représentations de Blanco Posnet à l'Abbey Theatre' Etienne, Anne; (2008) 'England's trouble is Ireland's opportunity: les représentations de Blanco Posnet à l'Abbey Theatre'. Etudes Irlandaises (France), 33 (1):83-98 [Details] | |
| (2007) | 'Censure politique ou politique de censure ? Les cas de Geneva de Bernard Shaw et de Follow my Leader de Terence Rattigan en 1938' Etienne, Anne; (2007) 'Censure politique ou politique de censure ? Les cas de Geneva de Bernard Shaw et de Follow my Leader de Terence Rattigan en 1938'. Revue d'Histoire du Théâtre, 236 (4):337-358 [Details] | |
| (2006) | 'Top Girls de Caryl Churchill: la marginalité des personnages féminins' Etienne, Anne; (2006) 'Top Girls de Caryl Churchill: la marginalité des personnages féminins'. Textes Et Genres Ii, :111-125 [Details] | |
| (2006) | 'Les non-dits de la scène anglaise (XVIIIe-XXe siècle)' Etienne, Anne; (2006) 'Les non-dits de la scène anglaise (XVIIIe-XXe siècle)'. Ethnologie Française, XXXVI (2006.1):19-26 [DOI] [Details] | |
| (2005) | 'Qui a peur du Lord Chamberlain : influences réciproques entre théâtre et censure au XXe siècle' Etienne, Anne; (2005) 'Qui a peur du Lord Chamberlain : influences réciproques entre théâtre et censure au XXe siècle'. Coup de Théâtre, (20):231-240 [Details] | |
| (2000) | 'Les 'theatre clubs' en Grande-Bretagne au XXe siecle' Etienne, A; (2000) 'Les 'theatre clubs' en Grande-Bretagne au XXe siecle'. Etudes Anglaises, 1 (53-3):306-313 [Details] |
Book Chapters
| Year | Publication | |
|---|---|---|
| (2024) | 'Theatre censorship: an unceasing (un)official menace?' Anne Etienne and Graham Saunders (2024) 'Theatre censorship: an unceasing (un)official menace?' In: Anne Etienne & Graham Saunders (eds). The Palgrave Handbook of Theatre Censorship. London and NY: Palgrave. [DOI] [Details] | |
| (2024) | ''Censorship in times of convulsive change'' Anne Etienne and Chris Megson (2024) ''Censorship in times of convulsive change'' In: Theatre Censorship in Contemporary Europe: Silence and Protest. Exeter: University of Exeter Press. [Details] | |
| (2024) | '‘Risings and Cancelling: Implicit Censorship on a Free Irish Stage’' Anne Etienne and Lisa Fitzpatrick (2024) '‘Risings and Cancelling: Implicit Censorship on a Free Irish Stage’' In: Anne Etienne and Chris Megson (eds). Theatre Censorship in Contemporary Europe: Silence and Protest. Exeter: University of Exeter Press. [Details] | |
| (2021) | 'Introduction' Anne Etienne and Graham Saunders (2021) 'Introduction' In: Arnold Wesker: Fragments and Visions. Bristol: Intellect. [Details] | |
| (2021) | 'Wesker's French Connections' Anne Etienne (2021) 'Wesker's French Connections' In: Anne Etienne and Graham Saunders (eds). Arnold Wesker: Fragments and Visions. Bristol/Chicago: Intellect. [Details] | |
| (2019) | '‘“I remember”; “I forget”; “I can’t forget”: Oral History, the Archive and Remembering Corcadorca’s Merchant of Venice.’' Anne Etienne (2019) '‘“I remember”; “I forget”; “I can’t forget”: Oral History, the Archive and Remembering Corcadorca’s Merchant of Venice.’' In: Barry Houlihan (eds). Navigating Ireland’s Theatre Archive: Theory, Practice, Performance. Oxford: Peter Lang. [DOI] [Details] | |
| (2017) | 'Interview with Bríd Ó Gallchoir' Anne Etienne (2017) 'Interview with Bríd Ó Gallchoir' In: Perspectives on Contemporary Irish Theatre: Populating the Stage. London: Palgrave. [Details] | |
| (2017) | '‘Slump and Punk in Ray Scannell’s Losing Steam – Envisioning Corcadorca.’' Anne Etienne (2017) '‘Slump and Punk in Ray Scannell’s Losing Steam – Envisioning Corcadorca.’' In: Perspectives on Contemporary Irish Theatre: Populating the Stage. London: Palgrave. [Details] | |
| (2017) | 'Interview with Pat Kinevane' Anne Etienne (2017) 'Interview with Pat Kinevane' In: Perspectives on Contemporary Irish Theatre: Populating the Stage. London: Palgrave. [Details] | |
| (2017) | 'Topsy-Turvying The Merchant of Venice: Shylock as Wesker’s Response to the Renaissance Jew' Anne Etienne and Estelle Rivier (2017) 'Topsy-Turvying The Merchant of Venice: Shylock as Wesker’s Response to the Renaissance Jew' In: Michael Dobson and Estelle Rivier-Arnaud (eds). Rewriting Shakespeare’s Plays For and By the Contemporary Stage. Cambridge: Cambridge Scholars. [Details] | |
| (2012) | 'Pond Life and Angels: Enda Walsh's Adaptations to Cork' Anne Etienne; (2012) 'Pond Life and Angels: Enda Walsh's Adaptations to Cork' In: Drama Reinvented: Theatre Adaptations in Ireland 1970-2007. London: Peter Lang. [Details] | |
| (2010) | 'De Pond Life à Pondlife Angels: les jeux d'écriture d'Enda Walsh' Etienne, Anne; (2010) 'De Pond Life à Pondlife Angels: les jeux d'écriture d'Enda Walsh' In: L'adaptation théâtrale en Irlande de 1970 à 2007. Caen, France: Presses Universitaires de Caen. [Details] | |
| (2008) | 'Quand le rideau tombe : les derniers jours du censeur' Etienne, Anne; (2008) 'Quand le rideau tombe : les derniers jours du censeur' In: Théâtre anglophone : de Shakespeare à Sarah Kane. L'envers du décor. Vic-la-Gardiole, France: Editions de l'Entretemps. [Details] | |
| (2005) | 'Arnold Wesker' Etienne, Anne; (2005) 'Arnold Wesker' In: Dictionary of Literary Biography, British and Irish Playwrights Since World War II, vol. 310. New York and London: Thomson Gale. [Details] | |
| (2004) | 'Arnold Wesker' Anne Etienne (2004) 'Arnold Wesker' In: Dictionary of Literary Biography. British and Irish Playwrights Since WW2. Chicago: Gale. [Details] | |
| (2001) | 'Britain: Theatre clubs' Etienne, Anne; (2001) 'Britain: Theatre clubs' In: Censorship: a World Encyclopedia. London and Chicago: Fitzroy Dearborn. [Details] |
Book Reviews
| Year | Publication | |
|---|---|---|
| (2021) | Review of Bernard Dukore. Bernard Shaw and the Censors: Fights and Failures, Stage and Screen. Anne Etienne (2021) Review of Bernard Dukore. Bernard Shaw and the Censors: Fights and Failures, Stage and Screen. Book Reviews [Details] | |
| (2016) | British Theatre and Performance 1900-1950. Anne Etienne (2016) British Theatre and Performance 1900-1950. Cambridge: Book Reviews [Details] | |
| (2016) | Bernard Shaw the Irish Writer. Anne Etienne (2016) Bernard Shaw the Irish Writer. Book Reviews [Details] | |
| (2015) | The censorship of British drama, volume 4 – the sixties. Anne Etienne (2015) The censorship of British drama, volume 4 – the sixties. London: Book Reviews [DOI] [Details] | |
| (2015) | Invited review of Athéna-Hélène Stourna's La Cuisine à la scène: Boire et manger au théâtre du XXe siècle. Anne Etienne (2015) Invited review of Athéna-Hélène Stourna's La Cuisine à la scène: Boire et manger au théâtre du XXe siècle. Cambridge: Book Reviews [DOI] [Details] | |
| (2014) | Invited review of Sean Carney's The Politics and Poetics of Contemporary English Tragedy. Anne Etienne (2014) Invited review of Sean Carney's The Politics and Poetics of Contemporary English Tragedy. Cambridge: Book Reviews [DOI] [Details] | |
| (2013) | Invited review of Steve Nicholson's Censorship of British Drama, volume 3. Anne Etienne (2013) Invited review of Steve Nicholson's Censorship of British Drama, volume 3. Intellect: Book Reviews [Details] | |
| (2012) | Invited review of Lauren Arrington's W. B. Yeats, The Abbey Theatre, Censorship, and the Irish State. Anne Etienne (2012) Invited review of Lauren Arrington's W. B. Yeats, The Abbey Theatre, Censorship, and the Irish State. Oxford: Book Reviews [DOI] [Details] | |
| (2005) | Invited review of Alan Strachan's Secret Dreams: The Biography of Michael Redgrave. Anne Etienne (2005) Invited review of Alan Strachan's Secret Dreams: The Biography of Michael Redgrave. London: Book Reviews [Details] |
Encyclopedia Entries
| Year | Publication | |
|---|---|---|
| (2024) | Theatre censorship in the UK’. Anne Etienne (2024) Theatre censorship in the UK’. London:Bloomsbury Methuen. Encyclopedia Entries. [Details] | |
| (2024) | Theatre clubs. Anne Etienne (2024) Theatre clubs. London:Bloomsbury Methuen. Encyclopedia Entries. [Details] | |
| (2024) | Theatre and Censorship in the world. Anne Etienne (2024) Theatre and Censorship in the world. London:Bloomsbury Methuen. Encyclopedia Entries. [Details] | |
| (2022) | Arnold Wesker. Anne Etienne (2022) Arnold Wesker. Literary Encyclopedia. Encyclopedia Entries. [Details] | |
| (2001) | Theatre clubs. Anne Etienne (2001) Theatre clubs. London and Chicago:. Encyclopedia Entries. [Details] |
Journal Volume Edited
| Year | Publication | |
|---|---|---|
| (2014) | Variations contemporaines autour de Shylock. Anne Etienne and Agathe Torti (2014) Variations contemporaines autour de Shylock. Journal Volume Edited [Details] | |
| (2013) | Le transfert vers le texte théâtral. Jean Berton et al. (2013) Le transfert vers le texte théâtral. Journal Volume Edited [Details] | |
| (2012) | Autour de Caryl Churchill. Christine Kiehl et al. (2012) Autour de Caryl Churchill. Journal Volume Edited [Details] |
Invited Lectures
| Year | Publication | |
|---|---|---|
| (2013) | ‘Theatre Censorship – a cat and mouse game?’. Anne Etienne (2013) ‘Theatre Censorship – a cat and mouse game?’. Invited Lectures [Details] |
Translations
| Year | Publication | |
|---|---|---|
| (2018) | Seuls les pirates / Goldilocks Planets. Anne Etienne (2018) Seuls les pirates / Goldilocks Planets. Paris: Translations [Details] | |
| (2016) | Mademoiselle Louise and the Flying Yankee. Anne Etienne and Tadhg Hickey (2016) Mademoiselle Louise and the Flying Yankee. Paris: Translations [Details] | |
| (2015) | A Lovely Valley. Anne Etienne and Tadhg Hickey (2015) A Lovely Valley. Translations [Details] | |
| (2015) | The Day we Didn't Go to the Opera. Anne Etienne and Tadhg Hickey (2015) The Day we Didn't Go to the Opera. Orleans: Translations [Details] | |
| (2014) | Translation of Arnold Wesker's Shylock. Anne Etienne and Raymond Gardette (2014) Translation of Arnold Wesker's Shylock. Translations [Details] | |
| (2014) | After Night Falls. Anne Etienne (2014) After Night Falls. Translations [Details] | |
| (2011) | Translation of Samuel Poisson-Quinton’s film S‘épulcreuser. Anne Etienne (2011) Translation of Samuel Poisson-Quinton’s film S‘épulcreuser. Paris: Translations [Details] | |
| (2011) | Translation of Michael Dacheux’s film Sur le départ. Anne Etienne (2011) Translation of Michael Dacheux’s film Sur le départ. Paris: Translations [Details] | |
| (2011) | Translation of Nicolas Rosée’s film La Ligne de Touche. Anne Etienne (2011) Translation of Nicolas Rosée’s film La Ligne de Touche. Paris: Translations [Details] | |
| (2010) | Translation of Gael Lépingle’s film Julien. Anne Etienne (2010) Translation of Gael Lépingle’s film Julien. Paris: Translations [Details] | |
| (2006) | Translation of Gael Lépingle’s documentary La Prisonnière de Pont-aux-Dions. Anne Etienne (2006) Translation of Gael Lépingle’s documentary La Prisonnière de Pont-aux-Dions. Translations [Details] | |
| (2006) | Translation of ‘Un Monde Moderne’, a documentary film by Arnaud Soulier and Sabrina Malek. Anne Etienne et al (2006) Translation of ‘Un Monde Moderne’, a documentary film by Arnaud Soulier and Sabrina Malek. Paris: Translations [Details] |
Performances
| Year | Publication | |
|---|---|---|
| (2014) | The Vagina Monologues. Anne Etienne (2014) The Vagina Monologues. Performances [Details] | |
| (2008) | Roles of ‘Sandrine’ and ‘3’ in Dennis Kelly’s Love and Money, directed by Ger Fitzgibbon. Anne Etienne, Ger Fitzgibbon et al. (2008) Roles of ‘Sandrine’ and ‘3’ in Dennis Kelly’s Love and Money, directed by Ger Fitzgibbon. Granary Theatre, Cork: Performances [Details] | |
| (2007) | Role of ‘Jean’ in extracts of Enda Walsh’s Pondlife Angels, directed by Donal Gallagher. Anne Etienne (2007) Role of ‘Jean’ in extracts of Enda Walsh’s Pondlife Angels, directed by Donal Gallagher. University of Caen: Performances [Details] | |
| (2006) | Roles of ‘Narrator’, ‘Nun’ and ‘Précieuse’ in Derek Mahon’s Cyrano de Bergerac, directed by Cal Duggan. Anne Etienne, Cal Duggan et al. (2006) Roles of ‘Narrator’, ‘Nun’ and ‘Précieuse’ in Derek Mahon’s Cyrano de Bergerac, directed by Cal Duggan. Granary Theatre, Cork: Performances [Details] | |
| (2004) | Annie Wobbler produced during ‘Wesker Week’, Granary Theatre, Cork. Anne Etienne (2004) Annie Wobbler produced during ‘Wesker Week’, Granary Theatre, Cork. Performances [Details] | |
| (2004) | Role of ‘the Dealer’ in Koltès’ Solitude dans les Champs de Coton, directed by Mary Noonan. Anne Etienne (2004) Role of ‘the Dealer’ in Koltès’ Solitude dans les Champs de Coton, directed by Mary Noonan. Granary Theatre, Cork: Performances [Details] |
Thesis/Dissertation
| Year | Publication | |
|---|---|---|
| (1999) | Les Coulisses du Lord Chamberlain: la censure Theatrale de 1900 a 1968. Anne Etienne (1999) Les Coulisses du Lord Chamberlain: la censure Theatrale de 1900 a 1968. Thesis/Dissertation [Details] |
Edited Conference Proceedings
| Year | Publication | |
|---|---|---|
| (2007) | Wesker and His Others: A Quest for Identity in Dramatic Form. Anne Etienne (2007) Wesker and His Others: A Quest for Identity in Dramatic Form. Beni Mellal, Morocco: Edited Conference Proceedings [Details] |
Professional Activities
Conference Contributions
| Year | Publication | |
|---|---|---|
| (2023) | SAES ‘Transmission(s)’ conference, Anne Etienne (2023) Arnold Wesker’s Tyranny and Joy: a Patchwork Play as Testament?. [Invited Lectures (Conference)], SAES ‘Transmission(s)’ conference, University of Rennes , 01-JUN-23. [Details] | |
| (2010) | Arnold Wesker, auteur engage, Anne Etienne (2010) Keynote. [Keynote Speaker], Arnold Wesker, auteur engage, Bibliothèque Nationale de France, Site Richelieu, Paris . [Details] | |
| (2004) | Theatre Censorship: a Political Statement?, Etienne, Anne (2004) Invited address. [Invited Seminars/Guest Lectures], Theatre Censorship: a Political Statement?, University of Bristol . [Details] | |
| (2002) | La censure théâtrale en Grande-Bretagne : visées, formes et conséquences, Etienne, Anne (2002) Keynote. [Keynote Speaker], La censure théâtrale en Grande-Bretagne : visées, formes et conséquences, MUsée des Arts et Traditions Populaires, Paris , 21-NOV-02 - 22-NOV-02. [Details] | |
| (2018) | ‘1968 and All That: The End of Theatre Censorship?’, Anne Etienne (2018) Keynote of conference '1968: Unveiling Hidden Discourses'. [Keynote Speaker], ‘1968 and All That: The End of Theatre Censorship?’, University of Warwick, UK . [Details] | |
| (2022) | IFTR conference, ‘Shifting Centres’, Anne Etienne (2022) At the Centre: Arnold Wesker shifting places as author-director?. [Invited Lectures (Conference)], IFTR conference, ‘Shifting Centres’, University of Reykjavik , 20-JUN-22 - 25-JUN-22. [Details] | |
| (2016) | ‘Creation and Reception: Remembering Corcadorca’s Merchant of Venice (2005)’, Anne Etienne (2016) IFTR 2016 conference, ‘Presenting the Theatrical Past’. [Invited Lectures (Conference)], ‘Creation and Reception: Remembering Corcadorca’s Merchant of Venice (2005)’, University of Stockholm , 13-JUN-16 - 17-JUN-16. [Details] | |
| (2016) | ‘From North to South: Perspectives on Innovative Theatre Companies’, Anne Etienne (2016) joint paper with Dr. Lisa Fitzpatrick. IASIL 2016 conference, ‘Change’. [Invited Lectures (Conference)], ‘From North to South: Perspectives on Innovative Theatre Companies’, University College Cork , 25-JUL-16 - 29-JUL-16. [Details] | |
| (2016) | ‘Gossiping against Amnesia: Remembering Corcadorca’s Merchant of Venice.’, Anne Etienne (2016) Oral History Network Ireland conference, ‘People & Place’. [Invited Lectures (Conference)], ‘Gossiping against Amnesia: Remembering Corcadorca’s Merchant of Venice.’, University College Cork , 07-OCT-16 - 10-OCT-16. [Details] | |
| (2015) | ‘Revisiting The Merchant of Venice’, Anne Etienne (2015) multimedia exhibition/installation organised for ‘Creation and Reception project’. [Conference Organising Committee Chairperson], ‘Revisiting The Merchant of Venice’, University College Cork , 15-JUL-15 - 29-JUL-15. [Details] | |
| (2015) | ‘Remembering The Merchant of Venice’, Anne Etienne (2015) symposium organised and conducted for ‘Creation and Reception project’. [Conference Organising Committee Chairperson], ‘Remembering The Merchant of Venice’, University College Cork , 18-JUL-15. [Details] | |
| (2015) | 24th annual CDE conference. 'Theatre and Spectatorship', Anne Etienne (2015) Challenging the Auditorium': Spectatorship(s) in Site-specific Theatre. [Invited Lectures (Conference)], 24th annual CDE conference. 'Theatre and Spectatorship', Barcelona , 04-JUN-15 - 07-JUN-15. [Details] | |
| (2014) | Populating the Irish Stage - Contemporary Irish Theatre, Anne Etienne (2014) 'Sex and Punk and Death in Ray Scannel's Losing Steam - Corcadorca's Two Strands'. [Invited Lectures (Conference)], Populating the Irish Stage - Contemporary Irish Theatre, UCC , 28-JUN-14. [Details] | |
| (2014) | Populating the Irish Stage - Contemporary Irish Theatre, Anne Etienne (2014) http://populatingtheirishstage.wordpress.com/2014/02/02/populating-the-irish-stage/. [Conference Organising Committee Chairperson], Populating the Irish Stage - Contemporary Irish Theatre, UCC , 26-JUN-14 - 28-JUN-14. [Details] | |
| (2013) | New Elizabethans, Anne Etienne (2013) ‘Arnold Wesker, the Auteur engagé and his C42 Vision: defining a New Elizabethan Cultural Identity?’. [Invited Lectures (Conference)], New Elizabethans, Senate House, University of London , 13-JUN-13 - 15-JUN-13. [Details] | |
| (2007) | Theatre Adaptation 1970-2000s, Etienne, Anne (2007) Invited address and performance. [Invited Lectures (Conference)], Theatre Adaptation 1970-2000s, University of Caen , 19-SEP-14 - 20-SEP-14. [Details] | |
| (2013) | Questioning Wesker’s work and interdisciplinary methodology, Anne Etienne (2013) Inter-disciplinary presentation of Wesker's theatrical and political career. [Invited Seminars/Guest Lectures], Questioning Wesker’s work and interdisciplinary methodology, School of English, UCC . [Details] | |
| (2013) | New Elizabethans, Anne Etienne (2013) Chairing panel on ACGB. [Chair Sessions at Symposia], New Elizabethans, Senate House, University of London , 13-JUN-13 - 15-JUN-13. [Details] | |
| (2010) | Censure et Discours dans les Pays Anglophones (XVIe-XXIe siècles), Anne Etienne; (2010) La censure mise à nu. [Invited Lectures (Conference)], Censure et Discours dans les Pays Anglophones (XVIe-XXIe siècles), University of Rennes 2, France , 27-MAY-10 - 28-MAY-10. [Details] | |
| (2008) | The Mass and the Individual, Etienne, Anne; (2008) From The Kitchen to Four Portraits: Wesker's humanist struggle. [Invited Lectures (Conference)], The Mass and the Individual, University of Thessaloniki, Greece , 30-MAY-08 - 01-JUN-08. [Details] | |
| (2007) | Annual Conference SAES, L'Envers du Decor, Etienne, Anne; (2007) Waiting in the Wings : les derniers jours du censeur. [Oral Presentation], Annual Conference SAES, L'Envers du Decor, University of Avignon, France , 11-MAY-07 - 13-MAY-07. [Details] | |
| (2007) | Otherness, Etienne, Anne; (2007) Wesker and his Others: a Quest for Identity in Dramatic Form. [Invited Oral Presentation], Otherness, University of Marrakech, Beni Mellal, Morocco , 17-APR-07 - 19-APR-07. [Details] | |
| (2004) | Wesker Week, Etienne, A; (2004) Everything You've Always Wanted to know about Wesker. [Conference Organising Committee Chairperson], Wesker Week, Department of English, UCC , 02-MAR-04 - 04-MAR-04. [Details] | |
| (2003) | FAAAM: Figures de la marge, Etienne, A; (2003) Top Girls de Caryl Churchill: personnages feminins en marge. [Oral Presentation], FAAAM: Figures de la marge, University of Nanterre, France , 06-JUN-03 - 07-JUN-03. [Details] | |
| (2003) | 27th Comparative Drama Conference, Etienne, A; (2003) Political and theatrical motives behind the abolition of censorship. [Oral Presentation], 27th Comparative Drama Conference, Ohio State University, Columbus, USA , 24-APR-03 - 26-APR-03. [Details] | |
| (2002) | Annual conference of SAES. Correct/Incorrect, Etienne, Anne; (2002) Re-definitions of correctness in 1960s' Britain. [Oral Presentation], Annual conference of SAES. Correct/Incorrect, University of Metz, france , 10-MAY-02 - 12-MAY-02. [Details] | |
| (2002) | Annual conference of RADAC. Views on 20th century British Theatre, Etienne, A; (2002) Who's Afraid of the Lord Chamberlain?: Influences entre theatre et censure, 1900-68. [Oral Presentation], Annual conference of RADAC. Views on 20th century British Theatre, University of Sorbonne, Paris , 09-NOV-02 - 10-NOV-02. [Details] | |
| (2001) | England and the Permissive Society, ICBH, Etienne, A, and Thomas, D; (2001) The Struggle of Freedom of Speech on Stage: Theatre Clubs and dramatists v. the Lord Chamberlain, the Queen and the Prime Minister. [Oral Presentation], England and the Permissive Society, ICBH, Senate House, University of London , 09-JUL-01 - 11-JUL-01. [Details] | |
| (2000) | Annual conference of SAES (Societe des Anglicistes de l'Enseignement Superieur), Etienne, A; (2000) Le role des 'theatre clubs' dans le contexte de l'abolition de la censure theatrale. [Oral Presentation], Annual conference of SAES (Societe des Anglicistes de l'Enseignement Superieur), University of Angers , 19-MAY-00 - 21-MAY-00. [Details] | |
| (1999) | State of the Art, Etienne, A; (1999) Housman and Rattigan: examples of political censorship. [Oral Presentation], State of the Art, University of Orleans, France , 29-JAN-99 - 30-JAN-99. [Details] | |
| (1996) | State of the Art, Etienne, Anne; (1996) George Bernard Shaw, a Victim of Censorship?. [Oral Presentation], State of the Art, University of Orléans , 27-APR-96 - 27-APR-96. [Details] | |
| (1996) | CERCA Annual conference, Etienne, Anne; (1996) Taboos and Morality in 1960s British Theatre. [Oral Presentation], CERCA Annual conference, Orléans and Tours , 01-SEP-96 - 01-SEP-96. [Details] |
Professional Associations
| Association | Function | From / To | |
|---|---|---|---|
| RADAC - Research group on contemporary theatre | Treasurer | 01-MAY-11 / 01-MAY-14 | |
| German Society for Contemporary Theatre and Drama in English (CDE) | Member | 01-SEP-15 / | |
| British Association of Film, Television and Screen Studies (BAFTSS) | Member | 01-NOV-23 / | |
| International Federation for Theatre Research (IFTR) | member | 20-MAR-14 / | |
| Irish Society for Theatre Research (ISTR) | member | 10-SEP-15 / | |
| Society for Theatre Research (STR) | member | 10-MAY-19 / |
Committees
| Committee | Function | From / To | |
|---|---|---|---|
| Sabbatical committee | elected member | 2023 / | |
| CUP Editorial subcommittee | Member | 2015 / | |
| Teaching and Learning Committee | member | 2014 / 2014 | |
| CACSSS Athena SWAN steering group | School representative | 2018 / 2021 | |
| Graduate Committee | Chair (interim) | 2014 / 2015 | |
| Granary Theatre Advisory Committee | Member | 2013 / | |
| Drama and Theatre Studies Advisory Board | Member | 2012 / | |
| Student Affairs Committee | School of English representative | 2007 / 2013 | |
| Evening Arts Committee | Member, interim head 2004-5 | 2006 / 2008 | |
| 1st-year committee | member | 2011 / | |
| 3rd-year committee | Student-staff liaison officer | 2006 / 2009 |
Employment
| Employer | Position | From / To | |
|---|---|---|---|
| University College Cork | Lecturer in Modern Drama (Department of English) | 01-SEP-06 / | |
| Sorbonne, Université Paris 4 | Part-time lecturer - temporary | 20-SEP-10 / 31-MAY-11 | |
| University College Cork | Lecturer in Drama (Department of English) | 01-SEP-03 / 31-AUG-05 | |
| Théâtre 95, Cergy-Pontoise | Communication officer | 15-MAR-06 / 21-MAY-06 | |
| University of Warwick | Research Fellow | 01-MAR-01 / 28-FEB-03 | |
| University of Orléans | Junior Lecturer | 01-JAN-95 / 31-DEC-00 |
Education
| Year | Institution | Qualification | Subject | |
|---|---|---|---|---|
| 1999 | University of Orléans | PhD | Drama | |
| 1995 | University of Orléans | M.Phil. | Drama | |
| 1993 | University of Orléans | M.A. | Drama | |
| 1992 | University of Orleans | BA | English | |
| 1992 | Conservatoire d'Art Dramatique | 3-year Acting training |
Consultancy
| Client | Description | |
|---|---|---|
| Irish Studies Review | ||
| Theatre Journal | ||
| Studies in theatre and performance | ||
| SHAW. The Journal of Bernard Shaw Studies | ||
| The Irish Jurist | ||
| New Theatre Quarterly | ||
| Theatre Research International | ||
| Theatre Notebook | ||
| Modern Drama | ||
| Irish Journal of French Studies | ||
| Routledge USA | ||
| Etudes Irlandaises |
Languages
| Language | Reading | Writing | Speaking | |
|---|---|---|---|---|
| French | Fluent | Fluent | Fluent |
Outreach Activities
| Description | |
|---|---|
I am a member of LIBEX, an international funded research programme on censorship, University of Chamonix. | |
Board member of Corcadorca Theatre Company |
Other Activities
| Description | |
|---|---|
Translation work French into English and English into French. | |
Organisation of International Conference, 'Populating the Irish Stage', in collaboration with the University of Caen and RADAC, 26-28 June 2014. | |
Organisation of visit of Distinguished Speaker Professor David Thomas (University of Warwick) in 2006. | |
Organisation of visit of Distinguished Speaker Emerita Professor Claire Bruyère (University of Paris 7) in 2007. | |
Organisation and chair of Sir Arnold Wesker’s visit to U.C.C. (March 2004) |
Journal Activities
| Journal | Role | To / From | |
|---|---|---|---|
| Coup De Théâtre | Editor | 01-JUL-13 - 01-MAR-14 | |
| Coup De Théâtre | Member of Editorial Board | 02-JAN-11 - 05-JAN-14 |
Teaching Activities
Teaching Interests
MODERN AND CONTEMPORARY DRAMA AND THEATRE; BRITISH DRAMA; THEATRE CENSORSHIPPOSTGRADUATE TEACHING (2011- )
M.A. in American Literature and Film (O'Neill, Williams, Miller, Albee, Mamet)
M.A. in Modernities (O'Neill, Beckett, Stoppard)
M.A. in Irish Writing (Beckett)
Taught modules since 2011:
- Lecture modules -
EN1003 Modern drama (Osborne)
EN1004 Theories - Approaches to theatre
EN2077 Inventing Modern Drama
- Seminar modules -
EN3008 Drama and Controversy
‘Theatre Censorship – a cat and mouse game?’ Invited seminar, PG7004 Master Class Module: Contemporary Theoretical Paradigms in the Humanities and Social Sciences, Knowledge and Control: Historical And Contemporary Perspectives. UCC, June 2013.
Previous teaching (2006-11)
- Lecture modules -
EN2076 Theories of Drama
EN2074 Studies in English Drama after 1660.
EN3091 Theory and Practice
EN3098 Text into Film
- Seminar modules -
EN2006 George Bernard Shaw
DR3010/DR2007: Acting out – Keys to Naturalist Acting (Department of Drama and Theatre Studies)
Research Information
External Collaborators
| Name | Organisation / Institute | Country | |
|---|---|---|---|
| Professor Thierry Dubost | University of Caen | FRANCE | |
| Edward Bond | dramatist | UNITED KINGDOM | |
| Christopher Weedman | Middle Tennessee State University | U.S.A. | |
| Benjamin Halligan | University of Wolverhampton | UNITED KINGDOM | |
| Maya Ramos Smith | National Centre for Theatre Research of the National Institute of Fine Arts | MEXICO | |
| Yana Meerzon | University of Ottawa | CANADA | |
| Gioia Angeletti | University of Parma | ITALY | |
| Ulla Kallenbach | University of Bergen | NORWAY | |
| Meike Wagner | Ludwig Maximilian University | GERMANY | |
| Ian Brown | Glasgow University | UNITED KINGDOM | |
| Professor Lawrence Black | University of York | UNITED KINGDOM | |
| James Macdonald | theatre director | UNITED KINGDOM | |
| John Bull | University of Reading | UNITED KINGDOM |
Contact details
- Anne Etienne
Lecturer in Modern and Contemporary Drama - a.etienne@ucc.ie
- University College Cork
Ireland