Mac Liammóir, Micheál, 6–7, 65–81

career as a solo performer, 76–78

dismisses gay consciousness, 6, 67

Dublin promenades in full-make-up, 66, 80

“English-Jewish background,”, 68

on Gaelic, 71, 75

“mission” to create a theatre in Ireland, 72

problems with his late-career overacting, 76–77

theatre vs. radio and television, 78–79

Marxism, 12, 25, 90

marketing industry as destroyer of spontaneous popular culture, 10–11, 134n19

Masses and Mainstream, 25, 135n34

Maximilian II, 108

and connoisseurship of medals, 108

McMaster, Anew (Irish actor-manager), 71

medals (commemorative), 8, 97–109

Merleau-Ponty, Maurice, 112

“Method” acting, 30, 86–87

as limitation, 30

Miller, Arthur, 28–30, 44

Moissi/Moisiu, Alexander/Aleksandër, 7–9, 83–94

complicated heritage of, 85, 87

Moissi/Moisiu, Alexander/Aleksandër (continued)

Kraus and Kafka’s dislike of, 87–88

popularity, 86–87

as type of international star, 89, 91, 94

vocal qualities, 86–87

Molnár, Ferenc, 94

Monroe, Marilyn, 28

Montaigne, Michel de, 10–11, 13

Mountbatten, Lord Louis, 119

Naipaul, V. S. (Sir Vidia), 2–3

refusal to be “third world writer,”, 2

narod, 10

contrasted with “people,”, 10

Národní divadlo (Czech National Theatre), 17, 83–84

Nathan, George Jean, 22–24, 37, 43, 45, 49, 61, 74–75, 137n53, 140n63, 141n76, 142n82, 143n98, 149n184

and biographical approach to O’Neill, 22, 24

national cultures, 2, 7, 10, 15, 17, 85, 91–93

American, 10, 13–16, 20–22, 28, 31, 33–34, 57

Austrian, 31, 36, 38, 101, 107

Czech, 17, 91

English, 2–3, 7, 131

Irish, 67–68, 70–71, 79–81, 144n103

New York Drama Critics Circle, 49, 58, 140n71