Humour claims no ideological affiliation its workings merit inspection in any and every individual case, in light of the who, what, where and when of a joke, including the manner of performance, the socio-cultural context, the dynamic amongst participants, and who knows how many other factors particular to the instance. There as many insights to be gained from the deployment of humour in performance as people to think about it so herein lie a healthy handful of responses from a variety of perspectives. For the Sake of Sanity: Doing things with humour in Irish performance assembles a range of essays from practitioners, academics, and journalists, all of whom address the attempt to make an audience laugh in various Irish contexts over the past century. With a general emphasis on theatre, the collection also includes essays on film, television and stand-up comedy for those insights into practice, society and culture revealed uniquely through instances of humour in performance.
What I recall from the opening night of Focus productions is a powerful sense, not only of a period and place, but of a set of lives, relationships, conflicts and dramas having been created on stage. The fact that what happened on stage was based on technique lifted the achievement of The Focus Theatre and the contributions of Deirdre O Connell beyond any individual or occasional brilliance. A new approach to theatre was being launched. A theory and practice based on the work of Konstantin Stanislavski was being made available to Irish theatre. --Michael D. Higgins, 2001
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