The Documentary Aesthetic in Irish Theatre, 2010–2020
Series: Playwriting and the Contemporary: Critical Collaborations;
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Product details:
- Publisher Liverpool University Press
- Date of Publication 26 January 2026
- ISBN 9781836244943
- Binding Hardback
- No. of pages224 pages
- Size 239x163x15 mm
- Weight 666 g
- Language English 700
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Long description:
This book examines the emergence of documentary theatre in Ireland during the 2010s, linking this to a combination of political crises and societal changes in an increasingly experimental and adaptable Irish theatre landscape. The book observes a flourishing of the ‘documentary aesthetic’: a term referring to the appearance of reality, urgency and direct relevance to real-life events in theatrical productions, usually those derived from documentary sources. In this decade, Irish theatre makers have drawn upon the documentary aesthetic to link performances directly with pressing socio-political issues; their mixed application of documentary methods and other theatrical styles is a key focus of this study.
Across its four chapters, the book offers a chronological examination of key productions that exemplify the proliferation of the documentary aesthetic in Irish theatre throughout the 2010s. It analyses productions and performance texts, and features practitioner interviews within its examination of this decade. A key theme in this study is the notion of authorship, particularly within performances that include verbatim accounts of real-life experiences. The book considers the emergence of documentary theatre-making, acknowledging both the persistence of the playwright-author and the widespread embrace of collaborative and devised practice in contemporary Irish theatre. This book speaks to scholars, students and artists with an interest in documentary theatre and Irish drama.
'Lamont’s exploration of dramaturgical experiments in Irish theatre in the period 2010 to 2020 is rich and expansive, investigating forms such as documentary, verbatim, tribunal, or testimonial that are combined with conventional methods of playwriting and that blur the boundaries between these. This is a welcome contribution to scholarly research in theatre, performance, dramaturgy and Irish theatre.' Dr Marie Kelly, University College Cork
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