In this dissertation, I examine adaptations of plays by Henrik Ibsen and Anton Chekhov by the celebrated contemporary Irish playwrights Brian Friel (1929 - 2015) and Frank McGuinness (b. 1953). Critics have analyzed some of the individual adaptations, but I connect the adaptations done by Friel and McGuinness, discovering deeper relationships between these Irish playwrights and Ibsen and Chekhov. Moreover, I interrogate how these adaptations function as a way of redefining Ireland; they represent an attempt by writers in a newly hybrid and multicultural Ireland to engage with this identity from within, while framing Ireland as a multicultural nation directly connected in the richness of arts and history to the other members of the European Union and the global community at large.;My theoretical approach here is twofold: 1) to use place studies to situate my examination, and 2) to use adaptation theory for textual analysis of the works. I examine Friel's adaptations of Chekhov's The Bear and Uncle Vanya, as well as his adaptation of Ibsen's Hedda Gabler; I also discuss Friel's original play Afterplay, which follows the fate of two of Chekhov's beloved characters. I examine McGuinness's adaptations of Ibsen's A Doll's House, Ghosts, The Lady from the Sea, John Gabriel Borkman, and Peer Gynt. Finally, I end with a look at how both Friel and McGuinness adapted Chekhov's Three Sisters..;The mere existence of the adaptations examined here underscores a deeper connection between people across cultures and nations; they point to a more globalized notion of experience. As Ireland itself evolves in its role both as a European Union nation and as a global entity, the need for dramatic adaptations such as the ones discussed here will persist. The adaptations by Brian Friel and Frank McGuinness examined here pay homage to the past, while embracing a new future, replete with new experiences and new ideas.
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机译：在这篇论文中，我研究了著名的当代爱尔兰编剧布莱恩·弗里尔（1929-2015）和弗兰克·麦吉尼斯（b。1953年生）对亨里克·易卜生和安东·契kh夫的戏剧改编。评论家已经分析了一些个人改编，但我将弗里尔和麦坚尼斯的改编联系起来，发现这些爱尔兰剧作家与易卜生和契kh夫之间更深的联系。此外，我询问这些改编如何作为重新定义爱尔兰的一种方式。它们代表着一个新的混合和多元文化的爱尔兰作家从内部参与这种身份的尝试，同时将爱尔兰定为直接将丰富的艺术和历史与欧洲联盟其他成员和全球社会联系起来的多元文化国家。我的理论方法是双重的：1）使用场所研究来定位我的考试，以及2）使用适应性理论对作品进行文本分析。我考察弗里尔对契kh夫的《熊与叔叔瓦尼亚》的改编，以及他对易卜生的赫达·盖布尔的改编。我还将讨论弗里尔（Freel）的原创剧集《 Afterplay》，该剧遵循了契kh夫两个心爱的角色的命运。我研究了麦坚尼斯对易卜生的《娃娃屋》，《鬼魂》，《海上女士》，约翰·加布里埃尔·博克曼和佩尔·金特的改编作品。最后，我以弗里尔（Freel）和麦坚尼斯（McGuinness）如何改编契kh夫（Chekhov）的《三姐妹》作为结局。他们指出了经验的全球化。随着爱尔兰自身作为欧盟国家和全球实体的角色不断发展，对诸如本文所述的适应性措施等巨大适应的需求将继续存在。 Brian Friel和Frank McGuinness所做的改编在这里进行了回顾，向过去致敬，同时拥抱新的未来，并充满了新的经验和新的想法。
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