Translations Brian Friel Coursework Dissertation Question Examples
She also underlines the “need for each other of story-tellers and audience” and states that it is “at the core of Friel’s drama” (75).The playwright based his story-telling strategy on this connection of an interdependent nature.New maps are to be drawn up of the countryside; Irish place names are to be translated into ''standardized'' English. Under the new laws of tolerance, they can worship in freedom.What does this mean for the lowly farmers of Baile Beag? They no longer have to seek an education in their clandestine '' Hedge Schools,'' but will soon be able to attend new, modern schools being built by the state.For this reason, Katharine Worth, author of “Story-telling in Brian Friel’s Theater” calls it a “tragic and richly ‘enabling’ drama” (76).
She first mentions his habit of “bring[ing] the audience in the auditorium closer to the story-tellers” (75).The potentially wrenching relationships among the schoolmaster and his two sons are only vaguely sketched in; the minor students are also ill-defined.Under the direction of the Abbey Theater's artistic director, Joe Dowling, some worthy actors, Lauren Thompson, Sam Mc Murray and Miss Mahaffey, fail to bring much coloration - or, in some cases, convincing accents - to the smaller roles. Luckily, the remainder of the cast is helpful indeed. Gerroll, last seen in David Hare's '' Knuckle'' at the Hudson Guild, is sweet, even charismatic as the British soldier who makes the tragic error of losing his heart to a hostile land. Conroy's bitter son, whose cronish, limping posture expresses his inner sorrow, is pitiful when he discovers that he can only protest the English impotently - with ''the wrong gesture in the wrong language.'' Mr.In doing so, they hope, in Stephen Rea’s words, to show the people of Ireland that they are entitled to “‘choose the history that is enabling to [them] rather than the one that holds [them] back” (76).Drama is a genre well fitted to this purpose as it creates a particular connection between the author of the play and his or her audience.One of his adult students, Maire (Ellen Parker), views the Irish language as ''a barrier to progress'' and plans, in any case, to leave her homeland forever for America. In the evening's most inspired scene, two erstwhile cross-cultural lovers exchange intimacies without comprehending a word the other is saying.Her fellow pupils - who range from a nearly mute farm girl (Valerie Mahaffey) to an aged O' Casey-esque barroom bard (Jake Dengel) - hardly know what all the fuss is about. The soon-to-emigrate Maire has fallen for one of the British soldiers, Lieutenant Yolland (Daniel Gerroll), because she loves the sound of his foreign speech.It reveals the ultimate goal of Friel’s theater, and of the Field Day Theater Company as a whole: they desire to enable their audience by giving them the means to reflect and question, but also by showing them “the possibility of a hopeful change” (76).They decided to take plays like Translations to “remote parts of Northern Ireland and the Republic, where live theater is seldom seen” in an attempt to disseminate ideas” (76).Worth explains this as one of the reasons why Friel went from writing short stories to playwriting.He liked the idea of a “live audience; heterogeneous, unpredictable, a crowd of individuals, feeling themselves a community while the play lasts” (75).