THE CRIPPLE of INISHMAAN PRODUCTION STAFF by MARTIN Mcdonagh Stage Manager

Total Page:16

File Type:pdf, Size:1020Kb

THE CRIPPLE of INISHMAAN PRODUCTION STAFF by MARTIN Mcdonagh Stage Manager Florida International University FIU Digital Commons Department of Theatre Production Programs Department of Theatre Fall 11-9-2000 The rC ipple of Inishmaan Department of Theatre, Florida International University Follow this and additional works at: https://digitalcommons.fiu.edu/theatre_programs Part of the Theatre and Performance Studies Commons Recommended Citation Department of Theatre, Florida International University, "The rC ipple of Inishmaan" (2000). Department of Theatre Production Programs. 30. https://digitalcommons.fiu.edu/theatre_programs/30 This work is brought to you for free and open access by the Department of Theatre at FIU Digital Commons. It has been accepted for inclusion in Department of Theatre Production Programs by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected]. NOTES FROM THE DIRECTOR GLOSSARY AND QUICK-FACTS Martin McDonagh is an unlikely since Shakespeare to have four gosawer - boy. CAPITAL: Dublin person to receive accolades as the plays running simultaneously in --een - suffix (i.e. Johnnypateen, brightest of a fresh new generation London. ladeen, biteen) little. Connotes AREA: 27,128 sq. mi. of Irish playwrights. To begin with, McDonagh uses an actual bit of familiarity. 70,280 sq. km. he is not strictly Irish. Born in history as background for The eej, also eejit - idiot. South London to Irish parents, his Cripple of lnishmaan. In 1934 the winkles - snails. POPULATION : 3,550,448 knowledge of Ireland is limited to American documentary filmmaker praitie - potato. visits to relatives and the Irish Robert Flaherty came to Inishmore, curragh - light, open boat made of immigrant culture in the part of the largest of the wild Aran Islands a framework of lath covered LANGUAGE: English, London in which he lives. Next, he on Ireland's west coast, to shoot formerly with hide or leather but Irish (Gaelic) has never studied theatre. Bored The Man of Aran. The playwright now with tarred canvas. with school, he left at 16 and spent moves to the neighboring island of Kevin Barry - Irish patriot who RELIGION: Roman Catholic, much of his time watching soap Inishmaan to show the upsetting was executed in I 920. Anglican operas on the tellie, supplemented effect this invasion has on the poteen - a type of homemade with a strong dose of American isolated island natives. alcohol GOVERNMENT: republic movies. He says his inspiration to bent - cows or sick. begin writing came from his belief gob - mouth, face. MONEY: Irish pound (punt) that he could produce better work "HIS INSPIRATION TO Michael Collins - An original than what he was seeing. BEGIN WRITING CAME leader of the IRA, he was He was not an overnight FROM HIS BELIEF THAT HE considered to be founder of modem RESOURCES: zinc, lead, natural success, having 22 scripts in a row gas, petroleum, barite, copper, COULD PRODUCE BETTER guerilla warfare or urban terrorism. rejected by the BBC. He had little mingy - combination of mangy gypsum, limestone, dolomite, peat,. contact with live theatre and what WORK THAN WHAT HE WAS and stingy. silver he did see he regarded as "pretty SEEING." Banshees - a female spirit whose dull stuff." However, at age 23, he wailing is believed to foretell death. AGRICULTURE: turnips, barley, got an idea that he thought might Colleen - a young Irish girl. potatoes, sugar beets, wheat, meat Though he may not be work as a play. It took him three Shillelagh - stout, cudgel, or club. and dairy products technically Irish, McDonagh's play days to finish The Beauty Queen of doolally - crazy. has the qualities the great Irish Leenane. While waiting for a praitie cakes-potato pancakes. ARAN ISLANDS: consist of plays have shared: skilled story response to this, he wrote two other Antrim - One of the northernmost Inishmaan, Inishmore,and telling, fascinating characters and plays set in the same location, A counties in Ireland. Inishhere and lie thirty miles from the colorful, vivid language of the Skull in Connamara and The Kerry - County, south, near Galway, located on the west coast ordinary people. Absent, however, Lonesome West. All three were County Cork. of Ireland. is the usual sentimentality. And he chosen for production by the Connemara - area in County adds elements of the seemingly Ireland's Druid Theatre Company. Galway. INISHMAAN: the middle island is casual cruelty of today's world. His While they were being prepared, he Leenane - Town in Galway. about three and a half miles across, wrote The Cripple of Jnishmaan. is clearly the sensibility of today's nearly round in form and has a young movie-goer. He says, "I By the time his first three plays approximately population of 250- want to write plays that shake you moved to London, Cripple had 300 people been selected for production by the up a bit, plays that a film fan would Royal National Theatre. This is be interested in seeing, like the new how McDonagh, at age 27, found De Niro movie." So far, he seems himself to be the first playwright to be succeeding. THE CRIPPLE OF INISHMAAN PRODUCTION STAFF BY MARTIN McDONAGH Stage Manager. ........................................................ Jeanine Michel ASM ................ .. ......................... ....... ..................... .Joshua Burd ASM .................... .. .................... ............................ Anaily Andreu Director ................................................................... Therald Todd Prop Supervisor ......................................... ............... Sarah Bruning Costume Designer ...................................... ............ Marilyn R. Skow Sound Board Operator .................. ............................ Lucia McArthur Set and Light Design ................................................ Douglas Molash Assistant to the Costume Designer ................................ Rossana Morales Technical Director ........................................................ Matt Saxton ) Wardrobe Mistress .................................................... Rosie Sermeno Voice and Speech ............................................... Lesley-Ann Timlick House Manager ............................................................... Eva Ruiz Costumer. ............................................................... Marina Pareja ) Head Usher. ......................................................... Daniel Moraguez Box Office Manager ................................................. Jessica Campell Marketing and Outreach ...................... Michelle Catin, Christina Perdomo CAST Costume Construction .................................. Talia Tejeda, Jimmy Allen Daniella Schwimmer, Ricky Waugh KA TE .......................................................... Jeanette Louise Taylor Wardrobe Crew ............... Ricky Waugh, Claudia Latorre, Rhonda Atkins EILEEN ................................................................... Ilena Alvarez Scenic Artists .................................. Nicole Santaella, Rachel Carbonell JOHNNYPA TEENMIKE ........................................... Robert Maxwell Paint Prep ........................................ Larea Brown, Christina Burchard, CRIPPLE BILLY ................................................... Matt Szymanski Lolliette Romero, Sasha BARTLEY ................................................................. .I van Lopez Seco,Madelin Marchant, Nicole HELEN ............................................................. Christina Burchard Santaella, Rachel Carbonell BABBYBOBBY ........................................................... Joe Llorens Light Prep .................... Elina Fernandez, Madelin Marchant, David Ortiz, DOCTOR McSHARRY ............................................... Daniel Suarez Irene Storey, Daniel Suarez, Johnny Trabanco MAMMY .............................................................. .. Susan Murray Prop Prep .............................. Rose Ginart, Ivan Lopez, Robert Maxwell, Charles Quinteros, Adriana Ruiz, Matt Szymanski Scene Shop ................ .lvanessa Henriquez, Joe Llorens, Danny Moraguez, Emilio Rivas, Eva Ruiz, Lesley Sorzano, Charmille Walters THE SETTING IS INISHMAAN, ONE OF THE ARAN ISLANDS OFF Thanks to ....................... Elizabeth Marsh and Michael Mettee, Broadcast THE WEST COAST OF IRELAND. THE TIME IS 1934. Video Prodcuctions THERE WILL BE ONE INTERMISSION ADMINISTRATION ) Department Chair. ......................................................... Leroy Clark Produced under special arrangements with Dramatist Play Service, Inc. ) Senior Secretary ..................... ............. .................. Marianna Murray Secretary ................................ .. ............................ Nathalie Brenner The Cripple of Inishmaan was first performed at the Royal National Theatre, Business Manager ................ ..... .. ... ............................ Abel Cornejo London 12 December, 1996. Original New York production by FLORIDA INTERNATIONAL UNIVERSITY The Joseph Papp Public/The New York Shakespeare Festival DEPARTMENT OF THEATRE AND DANCE George C. Wolfe, Producer Miami, FL 33199 Telephone: (305) 348-2895 Fax: (305) 348-1803 Website: www.fiu.edu/-thedan FIU SPOTLIGHT PROFILE FIU THEATRE NEWS about specific areas of study related FIU Theatre will be holding Honors go to our past alumni for Open-Auditions for its spring ·completing their training in higher FIU Participates in to the writings and times of productions of The Tempest and education. Danny Pino recently Shakespeare Association of William Shakespeare. Shakespeare 's Journey.
Recommended publications
  • Literary and Cultural Events in Ireland
    Estudios Irlandeses, Issue 16, 2021, pp. 221-223 https://doi.org/10.24162/EI2021-10070 ___________________________________________________________________________AEDEI LITERARY AND CULTURAL EVENTS IN IRELAND ANNUAL REPORT – 2020 Christina Hunt Mahony Copyright (c) 2021 by Christina Hunt Mahony. This text may be archived and redistributed both in electronic form and in hard copy, provided that the author and journal are properly cited and no fee is charged for access. As this is the year remarkable for all the things that did not happen, it is important to remember, and to prize, all those literary, artistic and cultural events which did happen – often against great odds. And, just as there was stark inequity in the fortunes of different kinds of businesses during the pandemic, some areas of cultural activity fared far better than others. Publishing and book selling has had to adjust to our new reality, and although the cherished Irish tradition of the book launch has gone the way of live theatre, cinema-going and indoor concerts, the book trade flourishes. As do the prize giving processes. Recent major publications in Irish Studies include a flurry of new collections of short stories, most notably Kevin Barry’s, That Old Country Music. Sinead Gleeson has also produced yet another impressive anthology, a whacking great collection of 100 Irish short stories, weighing in at 1200 grams, and containing more than 800 pages of stories by classic writers and newcomers alike – The Art of the Glimpse – perfect for a Covid winter. A volume that will fit much more snugly in the hand or the pocket is Roy Foster’s On Seamus Heaney, the latest in the excellent Princeton University Press series of Writers on Writers.
    [Show full text]
  • Studies in Irish Craniology (Aran Islands, Co. Galway)
    Z- STUDIES IN IRISH ORANIOLOGY. (ARAN ISLANDS, CO. GALWAY.) BY PROFESSOR A. C. HADDON. A PAPER Read before the ROYAL IRISH ACADEMY, December 12, 1892; and “ Reprinted from the Procrrimnos,” 3rd Ser., Vol, II.. No. 5. \_Fifty copies only reprinted hy the Academy for the Author.] DUBLIN: PRINTED AT THE UNIVERSITY PRESS, BY PONSONBY AND WELDRICK, PKINTBRS TO THB ACAHRMY. 1893 . r 759 ] XXXVIII. STUDIES IN lEISH CKANIOLOGY: THE ARAN ISLANDS, CO. GALWAY.* By PROFESSOR A. C. HADDON. [Eead December 12, 1892.] The following is the first of a series of communications which I pro- pose to make to the Academy on Irish Craniology. It is a remarkable fact that there is scarcely an obscure people on the face of the globe about whom we have less anthropographical information than we have of the Irish. Three skulls from Ireland are described by Davis and Thumam in the “Crania Britannica” (1856-65); six by J. Aitken Meigs in his ‘ ‘ Catalogue of Human Crania in the Collection of the Academy of Natural Sciences of Philadelphia ” two by J. Van der Hoeven (1857) ; in his “ Catalogus craniorum diversarum gentium” (1860); thirty- eight (more or less fragmentary), and five casts by J. Barnard Davis in the “Thesaurus craniorum” (1867), besides a few others which I shall refer to on a future occasion. Quite recently Dr. W. Frazer has measured a number of Irish skulls. “ A Contribution to Irish Anthropology,” Jour. Roy. Soc. Antiquarians of Ireland, I. (5), 1891, p. 391. In addition to three skuUs from Derry, Dundalk, and Mary’s Abbey, Dublin, Dr.
    [Show full text]
  • Theatre Forum Annual Conference 12Th & 13Th June 2008
    Is it worth it? Theatre Forum Annual Conference 12th & 13th June 2008 Theatre Curator Forum note The annual Theatre Forum conference is a great Theatre Forum is the representative association for opportunity to ask questions in a situation where the performing arts in Ireland. Membership includes there are lots of people gathered to offer answers. all the theatres and arts centres around the country; So why not ask a big question? We’ve all felt it professional theatre, dance and opera production at some time. Disillusionment, doubt, frustration, companies; and the main arts festivals. those low ebbs when the question ‘is it worth it?’ lurks in one’s mind. Theatre Forum acts as a voice for the performing arts community to government, state and semi- ‘Is it worth it?’ can carry many different meanings state agencies and elected representatives. of course, from the philosophical question ‘is art worth it?’, through the political question ‘is theatre The organisation also organises training and worth State support?’, to the practitioner’s personal professional development courses and seminars. questions ‘is it worth the grief, the sacrifice, and Its website www.theatreforumireland.com is an the emotional roller-coaster ride?’, and ‘is it worth invaluable resource containing factsheets and model slogging through the failures and the hum-drum to contracts, an opening night clash diary, an industry achieve the often elusive successes?’ employment page, a barter page, members' notice board and much more. This year’s conference offers a series of different ways to approach these questions, allowing members to engage with their own experience of enthusiasm and disillusionment, passion and despair, the see-saw of positive and negative For further information: feelings involved in working in the performing arts.
    [Show full text]
  • Creative Sectoral Overview
    Creative Sectoral Overview Galway City and County Economic and Industrial Baseline Study CREATIVE SECTORAL OVERVIEW James Cunningham Brendan Dolan David Kelly Chris Young 14/04/2015 Table of Contents Executive Summary Overview of the Creative Sector ......................................... 6 Global Overview of the Creative Sector .............................................................. 8 1.1 Global Market Size .......................................................................................... 8 1.2 Classification of the Creative Industry ........................................................... 11 1.2.1 Heritage ......................................................................................................... 11 1.2.2 Art Crafts ....................................................................................................... 12 1.2.3 Performing Arts ............................................................................................. 12 1.2.4 Music ............................................................................................................. 13 1.2.5 Visual Arts ..................................................................................................... 16 1.2.6 Audio Visuals ................................................................................................. 17 1.2.6.1 Film Industry .................................................................................................. 18 1.2.6.2 Television and Radio ....................................................................................
    [Show full text]
  • Redalyc.DRUID THEATRE's ECONOMICS: the FIRST DECADE
    Ilha do Desterro: A Journal of English Language, Literatures in English and Cultural Studies E-ISSN: 2175-8026 [email protected] Universidade Federal de Santa Catarina Brasil Troupe, Shelley DRUID THEATRE’S ECONOMICS: THE FIRST DECADE Ilha do Desterro: A Journal of English Language, Literatures in English and Cultural Studies, núm. 58, enero-junio, 2010, pp. 459-478 Universidade Federal de Santa Catarina Florianópolis, Brasil Available in: http://www.redalyc.org/articulo.oa?id=478348696022 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Druid Theatre's Economics: the First Decade 459 DRUID THEATRE’S ECONOMICS: THE FIRST DECADE Shelley Troupe National University of Ireland Galway Abstract: This article considers the relationship between Druid Theatre’s productions and its administration during the company’s first decade by investigating the links between three features: the company’s fundraising practices; Druid’s infrastructure development in terms of personnel and physical space; and the organisation’s programming choices. Druid’s artistic partnership with Irish playwright Tom Murphy is also examined as it assisted in launching Druid’s international touring when Murphy’s Conversations on a Homecoming was the first Druid production to travel outside of the United States/United Kingdom festival circuit. Keywords: Druid Theatre, Tom Murphy, Ireland, funding, Irish theatre. Druid Theatre commenced production in the summer of 1975 with a repertory of three plays: J.M. Synge’s The Playboy of the Western World, Brian Friel’s The Loves of Cass Maguire and Kevin Laffan’s It’s a Two Foot Six Inches Above the Ground World.
    [Show full text]
  • The Generosity of Our Donors Has Changed Thousands of Lives Across the Island of Ireland and Around the World
    thank you The generosity of our donors has changed thousands of lives across the island of Ireland and around the world. The Ireland Funds has never wavered in its commitment and core mission: to deliver private philanthropy support to worthy causes that promote peace and reconciliation, arts and culture, education and community development. On behalf of the organizations doing extraordinary work, we thank you. connect 2017 • 6 “Co-operation Ireland is committed to peace-building on the island of Ireland and we will continue to deliver innovative programs which challenge people’s thinking and attitudes. Support we receive from The Ireland Funds highlights what can be achieved with funding that allows for more creativity and input from the people the programs aim to help.” — CO-OPERATION IRELAND “The Ireland Funds have been huge to our charity. We wouldn’t be here today if it wasn’t for The Ireland Funds. In those early years the funding was so critical because when we started there was nothing else coming in. It’s been a great relationship.” — IRISH DOGS FOR THE DISABLED Impact Report “Historically, there hasn’t been a tradition of private philanthropy in Ireland. But it’s organizations like The Ireland Funds that have taken the lead. Their role has been absolutely vital to philanthropy here.” — THE LITTLE MUSEUM OF DUBLIN “Our work is pioneering and without The Ireland Funds’ support we would not be able to deliver this. Support from The Ireland Funds is helping us to change the lives of these young people in Northern Ireland.” — THE PLAYHOUSE connect 2017 • 7 BELOW IS A SAMPLE OF THE OVER 3,000 OUTSTANDING ORGANIZATIONS YOUR GENEROSITY HAS ASSISTED.
    [Show full text]
  • Energy Audit on Aran Islands
    2015-10-22 ENERGY AUDIT ON THE ARAN ISLANDS Energy audit on the Aran Islands 1 Introduction 2 2 Abstract 3 3 Facts 4 4 The culture and identity of the Aran Island 10 5 Optimism 12 6 Pessimism 12 7 Possibilities 13 8 Action Plan 14 1 (15) ENERGY AUDIT ON THE ARAN ISLANDS Christian Pleijel [email protected] Tel +358-457-342 88 25 ENERGY AUDIT ON THE ARAN ISLANDS 1 Introduction In 2014, the Aran Islands joined the SMILEGOV1 prOject thrOugh its membership in the Comhdháil Oileáin na hÉireann (Irish Islands AssOciatiOn) and subse- quently in the European Small Islands Federation (ESIN). The objectives of SMILEGOV, funded by the IEE at the EurOpean COmmissiOn, is to establish a clear picture Of the island’s energy cOnsumptiOn, its emissiOns and hOw it is it supplied with energy, moving intO an actiOn plan fOr a more sustainable future, and to invite the island to join the Pact of Islands2. 1.1 Process The wOrk has mainly been carried Out by SeniOr AdvisOr Christian Pleijel, fOr- merly at SwecO, nOw an independent cOnsultant and the Vice President Of ESIN (European Small Islands Federation), with the kind help of Mr Ronan MacGiol- lapharaic at the Fuinneamh Oileáin Árann (Aran Islands Energy), support frOm the Irish Islands AssOciatiOn and frOm the Cork County Council. 1.2 Methodology The island has been Observed frOm six different perspectives, a methOd de- scribed and used in Christian Pleijel’s bOOk On the small islands Of EurOpe3: (1) Facts, (2) Identity and culture, (3) Optimism, (4) Pessimism, (5) POssibilities, and (6) ActiOns.
    [Show full text]
  • Telepsychiatry': Keeping a Link with an Island
    BRIEFINGS 'Telepsychiatry': keeping a link with an island L Mannion, T.J. Fahy, C. Duffy, M, Broderick and E. Gethins quality. We report on the pilot phase of a video conferencing link between a psychiatric depart ment and an island located within its catchment area. The study The three Aran Islands, Inishmore, Inisheer, and Inishmean, located off the west coast of Ireland, are included as part of a sector area of the West Galway Psychiatric Service. The population of these islands have been greatly affected by emigration. We have estimated that there are 53 psychiatric patients permanently resident on the three islands. The majority of this group suffer from major psychiatric disorders requiring continual monitoring. The population of the Figure 1. Aran Islands. islands increases enormously during the sum mer months due to the influx of tourists. Medical care is provided by one general practitioner (GP). with a public health nurse resident on each Telemedicine' has been defined as the delivery of island. Psychiatric care is provided by periodic health care where the patient and health profes visits by the community services team of the sional are at different locations (McLaren & Ball, West Galway service. An out-patient clinic is held 1995), and in recent years has come to be on the main island, Inishmore, every two months regarded as the use of telecommunications and every three to four months on the smaller technology for medical applications. Telepsy- islands. A community psychiatric nurse (CPN) chiatry' is the branch of 'telemedicine' that visits Inishmore every month and each of the focuses on mental health applications.
    [Show full text]
  • A Case Study of Stone Forts at Cliff-Top Locations in the Aran Islands, Ireland
    GEA(Wiley) RIGHT BATCH Short Contribution: Marine Erosion and Archaeological Landscapes: A Case Study of Stone Forts at Cliff-Top Locations in the Aran Islands, Ireland D.Michael Williams Department of Earth and Ocean Sciences, National University of Ireland, Galway, Ireland Two massively constructed stone forts exist on the edge of vertical coastal cliffs on the Aran Islands, Ireland. One of these, Dun Aonghusa, contains evidence of occupation that predates the main construction phases of the walls and broadly spans a time interval of 3300–2800 yr B.P. The other fort, Dun Duchathair, has been termed a promontory fort because its remaining wall crosses the neck of a small promontory marginal to the cliffs. Estimates of past rates of marine erosion in this part of Ireland may be made both by analogy with studies in other areas and comparison with present day rates of marine erosion. A working model for erosion rates of approximately 0.4m of coastal recession per annum is suggested. By applying this rate to the cliffs of the Aran Islands, it can be shown that, assuming a construction date of approximately 2500 yr B.P. for these forts, they were originally built at a considerable distance from the coastline. Thus Dun Duchathair was not a promontory fort. The earliest recorded habitation at Dun Aonghusa, dated to the middle of the Bronze Age, was, therefore, at some distance inland and not on an exposed 70 m high cliff on the edge of the Atlantic Ocean. ᭧ 2004Wiley Periodicals, Inc. INTRODUCTION At a period of widespread rise in relative sea-level in many parts of the world, the present-day landscapes of archaeological sites may be misleading due to marine erosion.
    [Show full text]
  • Galway University Hospitals 13
    2014 GALWAY UNIVERSITY HOSPITALS A GUIDE TO LIVING AND WORKING IN GALWAY Contents PAGE About Galway 3 Entertainment 4 Activities around Galway 6 Places to visit in Galway 8 Weather 9 Driving in Ireland 9 Accommodation 10 Galway University Hospitals 13 Clinical Research Facility 16 How to find us 17 Starting work at GUH 19 Visas/Work Permits 19 GNIB card 20 PPS number 21 Tax 21 Child benefit 22 Clinical Indemnity 23 Banking 23 Healthcare 24 Mobile phones 24 Public Holidays 24 Childcare 26 Education 26 Primary schools 26 Secondary schools 27 Third level education 28 2 Galway is the largest county in Connacht and home to Ireland’s third largest city, making it a perfect mix of rural relaxation and urban entertainment. In February 2014 Galway has was crowned Europe’s Micro city of the Year by the Financial Times. Known for its festivals, music and bars, the city is a vibrant, fun-loving city. Conveniently, history and leisure combine here: the pubs, many of which retain their original, huge fireplaces and other Gothic features, are the best place to get a feel for the medieval city. As the capital of the Gaelic West – it’s the only city in the country where you might possibly hear Irish spoken on the streets. Galway is the only coastal city in Ireland that really seems to open up to the sea, and its docks sit side by side the compact city centre, as you’re constantly reminded by salty breezes and seagulls. The jewel in the city’s crown, the long, pedestrianised main drag of William, Shop, High and Quay Streets, becomes a lively, Mediterranean-style promenade during summer, lined with pub and restaurant tables.
    [Show full text]
  • Terrain of the Aran Islands Karen O'brien
    Spring 2006 169 ‘Ireland mustn’t be such a bad place so’: Mapping the “Real” Terrain of the Aran Islands Karen O’Brien Martin McDonagh’s The Cripple of Inishmaan (1996) responds to and encodes the complexities of representational and ecological issues surrounding life on the rural landscape of the Aran Islands. The three islands that constitute the Aran Islands—Inisheer, Inishmaan, and Inishmore—occupy a unique and dual position of marginality and liminality; they not only reside off the border of the western coast of Ireland but also inhabit an indeterminate space between America and Europe. The archipelagos are described by Irish poet Seamus Heaney as a place “Where the land ends with a sheer drop / You can see three stepping stones out of Europe.”1 Inishmaan employs three strategic interrogations—representation, structure, and aesthetics—that coincide with the project of collaborative ecology. The first strategy juxtaposes two contrasting representations of Ireland’s 1930s rural west, problematizing the notion of a definable Irishness in relation to the unique Arans landscape. Inishmaan revolves around the filming of the American documentary Man of Aran (1934), which claims authenticity in its representation of actual island residents. McDonagh’s depiction of the Aran community, however, contradicts the documentary’s poetic vision of the Aran Islands as a pristine landscape. In scene eight, for example, the screening of Man of Aran does not reflect a mirror image of the Aran residents represented in the play; the film, contrarily, incites mockery. Despite its claim of historical authenticity and authority, the documentary proves fictional. Inishmaan contests the legitimacy of Man of Aran explicitly as well as a history of romanticized notions of western Irish identity implicitly.
    [Show full text]
  • Submission Re Application FS006566 for Foreshore Lease in Galway Bay
    Submission No. 301 From: Sent: 09 September 2016 09:05 To: foreshore Subject: Submission re application FS006566 for Foreshore Lease in Galway Bay 9 Sept 2016 Dear sir / Madam, I am objecting to the granting of application FS006566, “Application for a Foreshore lease for the construction of an Offshore Electricity Generating Station” for the following reasons; Firstly I have been deprived of an Environmental Impact Statement and as a result I do not have the information I require to assess the impact this development will have on the community and the wellbeing of the local and visiting tourists. Therefore I request that an Environmental Impact Study is conducted and circulated to the community before a decision is made with regards to this application. The impacts of the proposed development on the sensitive area of Galway Bay, its legally protected species and Habitats, have not been Appropriately Assessed as required by law. Ihave not been properly informed and Ihave not been consulted and included in the decision making process with regard to this application as required under the Aarhus Convention. Galway bay is known worldwide and with the Wild Atlantic Way bringing more tourists to the area which generates much needed jobs and income locally I am at a loss to understand why the impact on tourism has not been considered in this application. I am requesting that this is addressed before a decision is made with regards to this application No consideration has been given to the fact that Galway (City and County) has been selected as the European Capital of Culture for 2020.
    [Show full text]