User:Shazia.RR/sandbox

Content:
''Everything is relevant to the topic, but sometime the way the sentences are formed make it hard to follow. I gets confusing not knowing what is referring to what''

''It is a very brief article that gives an overview of the topic without going into much detail. To improve the article I think a little more detail of her style of writing, her work for the radio and how that worked. There definitely needs to be more information on her personal life, and career. Specially to find a balance and not give too much weight on one era of her life.''

We could add photos and Illustrations to make this article more lively.

Tone:
''The tone is neutral, there is no bias. there is however a heavy emphasis on her work at the Abbey theater and it makes it seem as though her other works were not as important, this due to a lack of information on her other activities/areas of focus.''

Sources:
''- The links all work, and are relevant to statements. The one link is to a theater company's website and program, that page changed and is no longer showing that they did the play. The information is taken from an online archive, dedicated specifically to Deevy. It is biased in a way. So it is not so much of a reliable source. Another one is just a webpage with a brief biography of Teresa Deevy, it is very unreliable because there is no author and it could all just be lies.''

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There are no dialogues on this page. So It's not very active or reviewed. the last time the article was updated was in November 2016.

the article is part of 3 different projects and is rated as start class article. The projects are: WikiProject Women Writers, WikiProject Ireland and WikiProject Biography.

Early Life
Teresa Deevy was born on January 21, 1894 in Waterford, Ireland. She was the youngest of 13 siblings, all girls. Her mother was Mary Feehan Deevy and Her Father was Edward Deevy who passed away when she was two years old.

Deevy attended the Ursuline Convent in Waterford and at 19 years old she enrolled in the University College in Dublin to become a teacher.

However, Deevy developed Ménière's disease causing her to gradually  loose her hearing and eventually becoming totally deaf. This situation made her relocate to University College in Cork, so that she could be treated in the Cork Ear, Eye, and Throat Hospital. A year later, she moved to London to learn lip-reading, and it is during her daily visits to the theater that she found a new passion.

Nationalist movement
She returned to Ireland in 1919, during the war for independence and this heavily influenced her writing and ideology as she was heavily involved in the nationalistic cause. she heavily admired Constance Markievicz, she joined the

the Cumann na mBan, an Irish women's Republican group and auxiliary to the Irish Volunteer. Her Republican, and even proto-feminist views can be clearly seen in plays such as Katie Roche and The King of Spain's Daughter.

Later career and death
In 1954 she was elected to the prestigious Irish Academy of Letters, as a recognition to her contribution to the Irish Theater.

Deevy was elected to the Irish Academy of Letters in 1954. Her sister, Nell, with whom she had lived in Dublin, died in the same year, so Deevy returned to Waterford. She became a familiar figure in Waterford city as she cycled around the city on her "High Nelly" bike. When her health began to fail she was eventually admitted to the Maypark Nursing Home in Waterford city and died there in 1963, aged 68, two days before her birthday.

Legacy
Katie Roche, Temporal Powers, Wife to James Wheelan and, The Suitcase Under the Bed have recently been staged and produced by The Mint Theater Company in New York, under the "Teresa Deevy Project" that aims to acknowledge and honor what people say is “One of Ireland’s best and most neglected dramatists.”

An Honorary Blue plaque is hung in Honor of her In Waterford City, On Passage Road, by courtesy of the Waterford Civic Trust.

The Abbey Theatre
In 1930 Deevy had her first production at the Abbey Theatre, Reapers. Many more followed in rapid succession, such as In Search of Valour, Temporal Powers, The King of Spain's Daughter and Katie Roche, the play she is perhaps best known for. These works came just after writers such as W. B. Yeats and Lady Gregory and many believed she would be among those who would take up the mantle as part of a new generation of Irish playwrights for a theater whose reputation had always rested on its writers. Her works were generally very well-received with some of them winning competitions, becoming headline performances, or being revived numerous times. Her plays were often quietly subversive, many being written just before or during the birth of the Republic of Ireland in 1937. After a number of plays staged in the Abbey, her relationship with the theater soured over the rejection of her play, Wife to James Whelan in 1937.

The Radio and Television
After Deevy stopped writing plays for the Abbey, she mainly concentrated on radio, a remarkable feat considering she had already become deaf before radio had become a popular medium in Ireland in the mid-to-late 1920s. Deevy had a prolific output for twenty years on Raidio Éireann and on the BBC Including adaptations of previous works such as Temporal Powers and Katie Roche and also an adaptation of Anton Chekhov's Polinka. Her play ‘Within a marble city’ was awarded first prize in the Radio Éireann drama competition (1948). Two of her plays were eventually broadcast on television by the BBC.

Stage Plays

 * The Reapers (lost play) (1930)
 * A Disciple/ In Search of Valour (1931)
 * Temporal Powers (1932)
 * The King of Spain's Daughter (1935)
 * Katie Roche (1936)
 * The Wild Goose (1936)
 * Wife to James Whelan (1937)
 * Strange Birth (1946)
 * Light Falling (1947)
 * Within a Marble City (1948)
 * Eyes and No Eyes
 * The Finding of the Ball
 * In the Cellar of My Friend
 * MacConglinne
 * A Minute's Wait
 * 3 Plays written under the alias D.V. Goode, Practice and Precept, Let Us Live, and The Firstborn
 * At least 3 unfinished, untitled plays

Radio Plays

 * Wife to James Whelan (radio adaptation of Deevy's stage play)
 * Polinka (radio play adaptation of Chekhov's Polinka) (1946)
 * Dignity (radio play) (1947)
 * Light Falling (radio adaptation of Deevy's stage play)
 * Within a Marble City (radio adaptation of Deevy's stage play)
 * Holiday House
 * Going Beyond Alma's Glory (radio play) (1949)
 * Concerning Meagher, or How Did He Die?
 * In the Cellar of My Friend (radio adaptation of Deevy's stage play)
 * Supreme Dominion (1957)
 * One Look- and What it Led to
 * Possession-Cattle of the Gods (ballet treatment/ libretto)

Short stories

 * Strange People (1946)


 * Just Yesterday: A Story
 * The Greatest Wonder in the World: A Christmas Story
 * Alen
 * Brian of the Boers
 * Lisheen at the Valley Farm
 * John Potter's Story
 * Flash Back
 * Adventure

Essays

 * Patricia Lynch: A Study (1948)
 * Man Proposes

Literary Themes
The themes that are most common with Deevy plays are those where options for women are severely limited in society, where women are trapped by domestic life, or must choose between a loveless marriage or a life of drudgery in a factory. Deevy was often critical of the intensely Catholic society she lived in for its oppressive and repressive views on women. She was critical also of the Irish theater scene and especially of literary censorship, questioning the roles, rights, and power of the censor, and also how to remove them.

She wrote about the women who struggle for survival and the lust over wanting a better life, how this privilege might seem attractive, until it is revealed it the "better life" comes with it's set of struggles too. She also explores the "individual’s negotiation between self and society where the personal is political."