"Clearing The Ground": The Field Day Theatre Company And The by Carmen Szabo

By Carmen Szabo

Clearing the floor the sphere Day Theatre corporation and the development of Irish Identities reports the sphere Day Theatre corporation, with designated concentrate on the performs that they wear level among 1980 and 1995; it makes an attempt to dissect their coverage and become aware of the way this coverage impacts the discourse of the theatrical productions. used to be box Day easily the cultural wing of Sinn Fein and the IRA, or did they fight to offer voice to a brand new serious discourse, hard the conventional frames of illustration? This publication makes a speciality of a radical research of ways during which box Day utilized the options of postcolonial discourse to their very own wishes of constructing a starting place for the ideological manifesto of the corporate. This research is a critique of the successes and screw ups of a theatre corporation that, in a interval of political and cultural predicament, engaged in cutting edge methods of discussing the delicate problems with id, reminiscence and historical past in Northern eire and the Republic of eire.

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38 Chapter One This more or less Utopian view, combined with the “sense of exhaustion” was used in “making” or “re-making” the histories of Northern Ireland and Ireland, in a general commitment to reshape “the consciousness of the audience in posterity, if not in the stalls”38. Classic Heroes: Brian Friel’s Making History Field Day’s solution for the impossibility of an internal representation of the Northern Irish Troubles was to form a touring company, attempting to link in one artistic experience the protagonists of the historical feuds that transformed Northern Ireland into the epitome of the border country: always within, forever without.

Since 1920, the province seems to exist in a historical loophole. The clocks appear to have stopped (much like Miss Havesham’s clock in Charles Dickens’s Great Expectations) just before 1968. Unfortunately, this does not mean that history disappeared and time stood still in a primeval space where people are living happily ever after, but, on the contrary, the violence and suffering, the meaninglessness of the events keep reinventing themselves in a vicious circle without foreseeing a way out. The whole situation is matching Estragon’s lines from Samuel Beckett’s Waiting for Godot: “Nothing happens, nobody comes, 34 Chapter One nobody goes, it’s awful”30, however, in the case of Northern Ireland, the “nothing” changes into “the same thing”, with the same “awful” outcome.

The second invented sub-plot is that of Peter Lombard writing Hugh’s biography. According to historical data, Peter Lombard never wrote the biography he is supposedly composing during the course of the play. He is the acknowledged author of De Regno Hiberniae Sanctorum Insula Commentarius43 completed in 1600, long before he actually met O’Neill in Rome for the first time. ), Brian Friel: Essays, Diaries, Interviews: 1964-1999 (London: Faber and Faber, 1999), p. 135. 42 Brian Friel, Making History (London: Faber and Faber, 1988), p.

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