![]() ![]() Examining archival materials, as well as the memoirs of Pike co-founders Swift and Simpson (published in 19, respectively), shows how issues of gender, authorship, authority, and attribution have impacted on the historical positioning of the Pike, revealing collective creation as central to its working processes and showcasing often unacknowledged aspects of Swift’s role in the theatre. ![]() The Pike aimed to become, and succeeded in becoming, a revolutionary force in Irish theatre and can be seen as part of “a ‘new wave’ of theatrical experimentation that was also taking place in 1950s’ London and Paris.” Today, the Pike is commonly remembered for introducing Irish audiences to challenging international plays, at a time in Ireland of tensions between established Catholic, cultural isolationism and resistance to these nationalist ideals. Carolyn Swift and Alan Simpson opened the Pike’s premises (a converted coach house on Herbert Lane) in 1953. This chapter contextualizes Dublin’s Pike Theatre Club within a history of collective creation in Ireland.
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