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Re:Membrance of Absence

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Re:Membrance of Absence Re:membrance of Absence Disrupting perceptions of Jewish and minority identity in Ireland through theatre. by Aideen Wylde Supervisor: Doctor Michael Finneran A thesis submitted for the degree of DOCTOR OF PHILOSOPHY Department of Drama and Theatre Studies Mary Immaculate College (Coláiste Mhuire Gan Smál) University of Limerick Abstract This research examines social, historical and theoretical reasons that have contributed to the noticeable omission of minority voices, specifically Jewish voices, from Irish theatre narratives to date. The creation of the play Here Shall We Rest (HSWR) was the practical culmination of this investigation. Testimonials from eight participants around their experience as either Irish-Jewish or Jewish and resident in Ireland form the foundational material for the play text of HSWR. The qualitative research methodology employed here combines elements of ethnography and auto-ethnography, practice research and narrative enquiry. As a direct result of the work undertaken, I propose an early iteration of a new methodology for making theatre on minority culture: Third Voice Theatre. Inspired by S. Anksy’s Yiddish play Der Dibuk, HSWR follows the journey of a supernatural character through a liminal landscape inhabited by various narratives expressed in the fieldwork interviews I conducted. These stories expose complexities around Jewish identity, whether self-expressed or socially imposed. The play draws on my experience of perceptions of Jewish culture in Ireland as expressed by some non-Jews, and as non-Jewish myself. The play also seeks to address some of the misconceptions about Jewish heritage and incidences of antisemitisim in Ireland through social and historical lenses. Creating a piece of theatre on this subject allowed me to reimagine negative representations of Jewish characters in Irish theatre. This processes also enabled me to question the reasons why there remains a dearth of Jewish and minority voices in Irish theatre. The presentation of Jewish voices on the Irish stage remains a largely unresearched area as this thesis demonstrates. Examining the influencing factors that contribute to the omission of minority voices from the Irish canon in a practice research capacity is my original contribution to the field of theatre performance studies. By addressing the issues identified in relation to Jewish identity I aspire to expand this and similar conversations to include other ethnic minorities. 2 The overall aim of this work is the disruption of hegemonic narratives of cultural and national Self in Irish theatre narratives. Keywords: Jewish identity, Ireland, representation, dybbuk, narrative enquiry, supernatural, ethnography, salvage ethnography, Third Voice Theatre. 3 Declaration I, Aideen Wylde, declare that this thesis is my own work and has never been previously submitted by me or any other individual for the purpose of obtaining a qualification. Signed: Aideen Wylde Date: 22/09/20 4 Acknowledgements I wish to wholeheartedly thank the following people, whose continued personal and professional encouragement made this journey possible. Dr Michael Finneran, whose unwavering support, creative contributions and meticulous advice have kept this project on track throughout its ups and downs. It has always been my great desire to complete a PhD and to teach theatre studies at third level, and for those opportunities I’m sincerely grateful. There is a Jewish proverb that says, ‘A table is not blessed if it has fed no scholars.’ I can attest that I, and the rest of the scholars who have shared your table leave it full to the brim. Thank you. The staff of the Department of Drama & Theatre Studies at MIC, whose equally generous advice and reassurance was invaluable. In particular, Dr. David Clare and Dr. Fiona McDonagh, whose professional guidance, and friendship, is always given with generosity and towards a shared love of theatre. I would also like to extend sincere thanks to Dr. Dorothy Morrissey for an immeasurable attention to rigour and reason, and her contribution to the work-in-progress part of this practice research. To colleagues at home and further afield: Dr. Terry Devlin, a kindred spirit in research and theatre. Dr. Vicky Brady whose friendship and support was often needed and freely given. Dr. Esther Fitzpatrick, for her illuminating work on arts response research and her early input into my own research. Dr. Anne Etienne – thank you for christening this work some time ago! Dr. Julianne Stack, Dr. Jim Deegan, Dr. Rebecca Breen and Dr. Amy Erbe Healy of the RGSO at MIC. Dr. Kate McCarthy, Dr. Anthony O’Dwyer, Dr. Darren de Barra, Dr. Cillian Mac Aodh and Dr. Dr. Sarah-Anne Buckley. Lastly, my former colleagues at RTÉ lyric fm and current colleagues at Cartoon Saloon for continued personal and professional encouragement throughout this process. Creative collaborators on Here Shall We Rest. I can’t thank Emily Waters enough for being a brilliant stage manager, a bundle of fun and energy, and the lightness I needed when things went dark. My sincere thanks to Bernard Clarke who applied his audio 5 expertise to the project at the eleventh hour, and with unwavering kindness and insight. Emma Fisher, for a home, a workspace and for making my olive tree dreams come true. Colin Bartlett for set construction. Deirdre Dwyer who just makes everything ok – a talent that’s priceless. Denis Clifford and Duncan Lutz of SubRelic for a stunning musical production, the result of genuine collaborative openness and a shared eagerness to create. Eoin Brady, thank you for editing the more complex audio pieces, and being the most reliable person to hop a creative ball off, no matter what the topic. Avia Gurman and Ruti Lachs for their gorgeous musical contributions. To the DTS students who came to my rescue on the production of Here Shall We Rest in more ways than they might know - Luke Frawley, Ryan Goodfellow Lawlor, Robyn O’Riordan, Robbie Boston, Gill McNamara. The future of Irish theatre is in safe hands! Additional thanks to Dr. Carole Quigley, Dr. Michael Murphy and Desi Wilkinson. Dr. Ger Fitzgibbon, who planted the original seed of the dybbuk in my head. Jack Healy, Naomi Daly, Mark D'Aughton, Mike Finn and BrokenCrow Theatre. Shane Coxinha O'Neill, Margaret and the SU shop staff, the reception, security and facilities staff at MIC. All my Clonmel girls, especially Jessica Regan and Meave O’Meara for continued professional advice and shoulders to cry on. Margaret Browne – we made it! JHNC postgraduate colleagues Paul Mcnamara, Tijmen Lansdaal, and Dr. Alan McAuliffe. Donal Gallagher, Medb Lambert, Síle Ní Bhroin, Olan and Aisling Wrynn, Bernadine Carroll, Ciaran Nash, Julie Kelleher, Cohen Ambrose, and my DIT alumni girls. Thank you all for your friendship. Finally my family. My sisters Sinéad and Niamh, who are always, always there with a bed, a meal or a hug. Thank you for taking care of me and letting me make special guest appearances in your lives! My brothers-in-law Eoin and Denis who always show up, and not just because you inherited me! Hugh, Rowan, Mia and Lois for all your love, hugs and unique ways to view the world. My parents Donal and Jean Wylde, who have never dissuaded me from the path I chose to pursue and whose example has gifted me a huge reserve of curiosity, resilience and chutzpah! Thank you for accompanying me on my own path and for all that you give, always. 6 Finally, my heartfelt thanks to the participants in this study without whose contributions this play could not have come to fruition. 7 Dedicated to my beloved parents, Donal and Jean Wylde ...and to Lopez, 2014- 2019. 8 ‘Diversity is a strength. Difference is a teacher. To fear difference is to learn nothing.’ Hanna Gadsby, Nannette. ‘There will always be someone to say, ‘tell me a story’, and someone there to respond. Were this not so, we would no longer be fully human.’ Richard Kearney, On Story. ‘How to remember an identity that you cannot name? Speak to the ghost…’ Esther Fitzpatrick, …And On Remembering 9 Table of Contents Abstract ................................................................................................................... 2 Acknowledgements.................................................................................................. 5 Table of Contents ....................................................................................................10 Table of Images ......................................................................................................13 Introduction ............................................................................................................14 0.1 “Tell me a story out of your mouth…” ......................................................................................... 14 0.2 Best practice................................................................................................................................. 16 0.3 Irish? Jewish? Irish-Jewish?.......................................................................................................... 22 0.4 “Reflect. Remember. Reimagine.” ............................................................................................... 28 Chapter 1: No such thing as an Irish Jew ..................................................................31 1.1 Jewish Ireland............................................................................................................................... 31 1.2 “Since when have there been Jews in Ireland?”: The Celts & The Yehudim ..............................
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