Nicola McCartney

Five new short plays, including author commentaries, from female and non-binary writers of Irish heritage in response to Samuel Beckett. What does Irish heritage mean to members of the modern-day diaspora? Global playwrights Olwen Fouéré, Jennifer Barclay, FELISPEAKS, Nicola McCartney and Hannah Khalil make their mark with five unique pieces loosely inspired by seeds from the Beckett canon. Originally staged for the international Not Beckett festival 2024-25, a festival created by writers Hannah Khalil and Jennifer Barclay to expand on the idea of what Irishness looks and sounds like. Premiering in October 2024 at London’s Jermyn Street Theatre, the plays were then staged internationally with partners on the project: The Samuel Beckett Research Centre in Reading, the Irish Repertory Theatre in New York, Fishamble in Dublin in collaboration with the Lir Academy, and Villanova University in Philadelphia, PA, amongst others. Each short play provides an ideal vehicle for students and readers to further explore the artistic influence of Samuel Beckett’s work through a modern-day, multicultural lens. The collection is introduced by Dr Matthew McFrederick, Co-Director of the Beckett International Foundation at the University of Reading, who considers the plays in the anthology and their impact.duet by Olwen FouéréNever Apologize by Jennifer BarclayWAIT; by FELISPEAKSI CAN'T REMEMBER THE by Nicola McCartneyThe Lighthouse Keeper's Son by Hannah Khalil

There exists a series of contemporary artists who continually defy the traditional role of the artist/author, including Art & Language, Guerrilla Girls, Bob and Roberta Smith, Marvin Gaye Chetwynd and Lucky PDF. In Death of the Artist, Nicola McCartney explores their work and uses previously unpublished interviews to provoke a vital and nuanced discussion about contemporary artistic authorship. How do emerging artists navigate intellectual property or work collectively and share the recognition? How might a pseudonym aid 'artivism'? Most strikingly, she demonstrates how an alternative identity can challenge the art market and is symptomatic of greater cultural and political rebellion. As such, this book exposes the art world's financially incentivised infrastructures, but also examines how they might be reshaped from within. In an age of cuts to arts funding and forced self-promotion, this offers an important analysis of the pressing need for the artistic community to construct new ways to reinvent itself and incite fresh responses to its work.

How Not To Drown was first performed on 4 August 2019 at the Traverse Theatre, Edinburgh." I don't know why my Dad let me go... I was too young, too weak, to make this journey. I wouldn't have sent me... He wouldn't have sent me unless there was a reason." In 2002, in the turmoil after the end of the Kosovan War, Dritan is sent on the notoriously perilous journey across the Adriatic with a gang of people smugglers to a new life in Europe. He relies on his young wit and charm to make it to the UK. But the fight for survival continues as he clings to his identity and sense of self when he ends up in the British care system. Painful yet uplifting, How Not to Drown shares a story of endurance for a little kid who wasn't safe or welcome anywhere in the world. Award-winning theatre company ThickSkin (Chalk Farm, The Static) returns to the stage with an action packed, highly visual production.

There exists a series of contemporary artists who continually defy the traditional role of the artist/author, including Art & Language, Guerrilla Girls, Bob and Roberta Smith, Marvin Gaye Chetwynd and Lucky PDF. In Death of the Artist, Nicola McCartney explores their work and uses previously unpublished interviews to provoke a vital and nuanced discussion about contemporary artistic authorship. How do emerging artists navigate intellectual property or work collectively and share the recognition? How might a pseudonym aid 'artivism'? Most strikingly, she demonstrates how an alternative identity can challenge the art market and is symptomatic of greater cultural and political rebellion. As such, this book exposes the art world's financially incentivised infrastructures, but also examines how they might be reshaped from within. In an age of cuts to arts funding and forced self-promotion, this offers an important analysis of the pressing need for the artistic community to construct new ways to reinvent itself and incite fresh responses to its work.