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        <Text language="eng" textformat="03">&lt;p&gt;'Active Speech' is a groundbreaking collection of scholarly essays and practitioner interviews focused on the work of Irish playwright Teresa Deevy. Acts of recovery in the 1980s and 1990s challenged Deevy’s exclusion from the literary canon, reclaiming her contributions as significant to Irish drama and theatre. The recent resurgence of scholarship and productions evidences that, as a deafened woman and Irish playwright, Deevy’s creative power continues to disrupt and tilt the canon of Irish drama, theatre, and performance.&lt;/p&gt;&lt;p&gt;Essays within the collection explore how Deevy’s work interrogates early to mid-twentieth century Irish social norms and ideologies and provide a rich context for understanding her plays. The collection highlights the interdisciplinary nature of research on Deevy and offers insights on her work through archival research, literary analysis, and practitioner perspectives from Deaf and hearing theatremakers.&lt;/p&gt;&lt;p&gt;One of the collection's strengths lies in its collaborative and inclusive approach, showcasing diverse methodologies and rigorous scholarship. The chapters on archival research and practitioner perspectives offer compelling models and avenues for future studies. This volume is an essential resource for scholars, educators, and theatremakers alike.&lt;/p&gt;</Text>
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        <Text>Foreword 
Teresa Deevy: A Journey of Discovery
Acknowledgements
Notes on Contributors
List of Figures
List of Abbreviations

Teresa Deevy: Life, Scholarship, Practice

ACCESS AND ARCHIVES
1. ‘Why Would Anyone Be Interested in My Old Aunt Teresa?’: Illuminating Teresa Deevy’s Legacy
2. The Teresa Deevy Archive and the Development of Collections and Curation in Maynooth University Library
3. TSI: Teresa Deevy, or What Do We Know about [The] Reapers? 
4. Mysteries of the Teresa Deevy Archive: Reconsidering the plays of D.V. Goode

DEEVY’S IRELAND: A COUNTRY IN CONTEXT
5. ‘Very Seldom Are Messages Properly Given’: Teresa Deevy’s Dark Matter
6. ‘I Must Just Make an Opening Elsewhere’: Teresa Deevy’s Involvement with Studio Theatre Practice, 1934–1958
7. ‘It Is Myself I Seen in Her’: Points of Departure in Teresa Deevy’s The King of Spain’s Daughter (1935)

DRAMATURGY, GENRE, AND THEORY
8. Finding Money in the Walls: Uncovering the Feminist Power of Teresa Deevy’s Dramaturgy through an Embodied, Practice-Based Approach
9. Becoming a Domesticated Irish Woman: Teresa Deevy’s Critique of Idealised Representations of Womanhood in Katie Roche
10. The Liminal Space of Widowhood in Teresa Deevy’s Wife to James Whelan (1937)

PRODUCTIONS AND PRACTITIONERS
11. Teresa Deevy’s Katie Roche: Art, Culture, and Performance
12. Teresa Deevy and Contemporary Performance Practice: Edited Transcript of Teresa Deevy Practitioner Panel Discussion
13. ‘You Can Feel the Change in the Air’: Reflecting on Talk Real Fine, Just Like a Lady, a Shapeshifting of Teresa Deevy’s The King of Spain’s Daughter

Index</Text>
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