CHRISTOPHER COLLINS's Outputs (16)

Modernist nostalgia and contemporary Irish dance (2023)
Book Chapter
Collins, C. (2023). Modernist nostalgia and contemporary Irish dance. In A. Curtin, N. Johnson, N. Paxton, & C. Warden (Eds.), The Edinburgh Companion to Modernism in Contemporary Theatre. Edinburgh University Press

Synge on vagrancy: labour, workhouses and the feeble-minded (2020)
Journal Article
Collins, C. (2020). Synge on vagrancy: labour, workhouses and the feeble-minded. Irish Studies Review, 28(4), 411-428. https://doi.org/10.1080/09670882.2020.1827494

This article demonstrates how two of J.M. Synge’s plays, In the Shadow of the Glen (1903) and The Playboy of the Western World (1907) document and reflect attitudes towards vagrancy and feeble-mindedness in Ireland at the dawn of the twentieth centur... Read More about Synge on vagrancy: labour, workhouses and the feeble-minded.

Performing the Rural in Contemporary Irish Theatre (2019)
Journal Article
Collins, C. (2019). Performing the Rural in Contemporary Irish Theatre. New Theatre Quarterly, 35(4), 341-351. https://doi.org/10.1017/s0266464x19000381

In this article Christopher Collins considers how the rural is represented in contemporary Irish theatre through a performance analysis of WillFredd Theatre’s award-winning production of FARM, staged in an industrial Dublin warehouse. Adopting a rela... Read More about Performing the Rural in Contemporary Irish Theatre.

Other theatres (2018)
Book Chapter
Collins, C. (2018). Other theatres. In E. Jordan, & E. Weitz (Eds.), The Palgrave handbook of contemporary Irish theatre and performance (221-232). Palgrave Macmillan

J.M. Synge and the time of his life (2017)
Presentation / Conference Contribution
Collins, C. (2017, October). J.M. Synge and the time of his life. Presented at Irish Time?: Temporalities in Irish Literature and Culture

Performing rural spaces in urban places: memory and affective nostalgia (2017)
Presentation / Conference Contribution
Collins, C. (2017, July). Performing rural spaces in urban places: memory and affective nostalgia. Presented at Unstable Geographies: Multiple Theatricalities: International Federation for Theatre Research (IFTR) 2017

Introduction (2016)
Book Chapter
Collins, C. (2016). Introduction. In J.M. Synge's The Playboy of the Western World. Routledge. https://doi.org/10.4324/9781315638720

John Millington Synge is one the most important and most influential playwrights in modern theatre. Born in 1871 in Dublin, Ireland, Synge had a professional career as a playwright that lasted just seven years before his untimely death at the age of... Read More about Introduction.

Theatre and residual culture: J.M. Synge and pre-Christian Ireland (2016)
Book
Collins, C. (2016). Theatre and residual culture: J.M. Synge and pre-Christian Ireland. London: Palgrave Macmillan. https://doi.org/10.1057/978-1-349-94872-7

Savage paganism: the playboy of the western world (2016)
Book Chapter
Collins, C. (2016). Savage paganism: the playboy of the western world. In Theatre and Residual Culture: J.M. Synge and Pre-Christian Ireland (201-258). Palgrave Macmillan. https://doi.org/10.1057/978-1-349-94872-7

This chapter interrogates The Playboy of the Western World in relation to Synge’s scientific analysis of fairy changeling folklore. This chapter proposes an alternative reading of the infamous disturbances that greeted the opening of the performance... Read More about Savage paganism: the playboy of the western world.

The Cambridge encyclopedia of stage actors and acting [entries on Irish actors and theatres] (2015)
Book
Collins, C. (2015). S. Williams (Ed.), The Cambridge encyclopedia of stage actors and acting [entries on Irish actors and theatres]. Cambridge University Press (CUP)

10 entries on Irish theatre.

"This world of inarticulate power": J.M. Synge's Riders to the Sea and magical realism (2014)
Book Chapter
Collins, C. (2014). "This world of inarticulate power": J.M. Synge's Riders to the Sea and magical realism. In J. F. Dean, & J. Lanters (Eds.), Beyond realism: experimental and unconventional Irish drama since the revival (13-27). Rodopi. https://doi.org/10.1163/9789401212014_003

Ireland, memory and performing the historical imagination (2014)
Book
Collins, C. (2014). C. Collins, & M. Caulfield (Eds.). Ireland, memory and performing the historical imagination. Basingstoke: Palgrave Macmillan. https://doi.org/10.1057/9781137362186

Synge and 'protestant comedy' (2014)
Book Chapter
Collins, C. (2014). Synge and 'protestant comedy'. In E. Weitz (Ed.), For the sake of sanity: doing things with humour in Irish performance. Carysfort Press

Forgetting Follow (2014)
Book Chapter
Collins, C. (2014). Forgetting Follow. In Ireland, memory and performing the historical imagination. Palgrave Macmillan. https://doi.org/10.1057/9781137362186

Memory in Ireland is a performative cultural industry that is regulated by the threat of forgetting. Forgetting cannot be cured, because it determines the phenomenology of memory. The more one attempts to defend against forgetting as a phenomenon, th... Read More about Forgetting Follow.

‘The Cries of Pagan Desperation’: Synge, Riders to the Sea and the discontents of historical time (2014)
Journal Article
Collins, C. (2014). ‘The Cries of Pagan Desperation’: Synge, Riders to the Sea and the discontents of historical time

This essay considers Synge’s staging of the caoine (keen) in Riders to the Sea(1904). It argues that the caoine in Riders to the Sea is not simply an aesthetic and unethical fetishization of pre-Christian cultural residue predicated on class insecuri... Read More about ‘The Cries of Pagan Desperation’: Synge, Riders to the Sea and the discontents of historical time.

Introduction: the rest is history (2014)
Book Chapter
Collins, C., & Caulfield, M. P. (2014). Introduction: the rest is history. In C. Collins, & M. P. Caulfield (Eds.), Ireland, memory and performing the historical imagination. Palgrave Macmillan. https://doi.org/10.1057/9781137362186

If the past is a foreign country then it has been colonized. This is a book about lost histories and faded memories of Irish theatre and performance. Winners write history, no one remembers history’s so-called losers. Until now.