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

By Carmen Szabo

Clearing the floor the sphere Day Theatre corporation and the development of Irish Identities stories the sector Day Theatre corporation, with distinctive specialize in the performs that they wear degree among 1980 and 1995; it makes an attempt to dissect their coverage and detect the best 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 severe discourse, tough the conventional frames of illustration? This booklet specializes in an intensive research of ways during which box Day utilized the strategies of postcolonial discourse to their very own wishes of making a beginning for the ideological manifesto of the corporate. This examine is a critique of the successes and screw ups of a theatre corporation that, in a interval of political and cultural trouble, engaged in leading edge methods of discussing the delicate problems with id, reminiscence and heritage in Northern eire and the Republic of eire.

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Extra info for "Clearing The Ground": The Field Day Theatre Company And The Construction Of Irish Identities

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In Language, Counter-memory, Practice15, Michel Foucault presents a devastating critique of the very notion of origin, as historians are accustomed to using the term. Foucault’s main argument is centred on the idea of origin as endless quest for the beginnings, thus annulling the originality of the historical event. The idea of “origin” brings about several presuppositions: that every historical moment is a homogeneous totality with a unique significance, that historical development is a necessary continuity with events that are linked together by a relationship between cause and effect.

8) Lombard does not pretend to be an authoritative historian but more of a storyteller, a maker of histories who considers that imagination plays the most important part in writing his story. The paradox of a dilettante, a man who openly acknowledges his lack of historical training, influencing the reception of historical events through the apparent truth of his writings, determines, from the very beginning, the metatheatrical issues of the play. We are not witnessing the creation of a History but the writing of the story of Hugh O’Neill.

The ritualistic character of the parades provides the possibility of historical legitimacy. There is a strange problem with history in Northern Ireland. 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.

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