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Published online by Cambridge University Press: 30 August 2011
Authentic Irish manhood has long been the concern of several self-appointed vanguards. However, just exactly what may constitute authentic Irish manhood has not, until quite recently, been the subject of serious critical and theoretical reflection. Moreover, Irish playwriting (and theatre production) has a notoriously male-dominated history. Because of this masculinist and often misogynistic slant to Irish theatre writing, there is a sense, for the masculinities scholar at least, that any piece of erudite theatre scholarship can make critical inroads into the deconstruction of Irish masculinity in performance.
1 Chambers, Lillian, Jordan, Eamonn and FitzGibbon, Ger, eds., Theatre Talk: Voices of Irish Theatre Practitioners (Dublin: Carysfort Press, 2001)Google Scholar; and Furay, Julia and O'Hanlon, Redmond, Critical Moments: Fintan O'Toole on Modern Irish Theatre (Dublin: Carysfort Press, 2003)Google Scholar.
2 Walsh, Fintan, Male Trouble: Masculinity and the Performance of Crisis (Basingstoke: Palgrave Macmillan, 2010), p. 8CrossRefGoogle Scholar.
3 Singleton, Brian, Masculinities and the Contemporary Irish Theatre (Basingstoke: Palgrave Macmillan, 2011), p. 3CrossRefGoogle Scholar.