Brian Friel's Fathers and Sons Andrea P. Balogh
POSTCOLONIAL SUB-VERSIONS OF EUROPE: BRIAN FRIEL’S FATHERS AND SONS ANDREA P. BALOGH What worries me about the play – if there is a play – are the necessary peculiarities, especially the political elements. Because the play has to do with language and only language. And if it becomes overwhelmed by that political element, it is lost.1 It is a truism to say that no language is innocent. It is more difficult to trace, within the rhetorics of political and literary discourses, the forms and varieties of incrimination, subjection, insurgency, evasion, and stereotyping that determine or are determined by our past and present interpretations.2 Over the last twenty years, one of the most heated debates in Irish Studies has been about the usefulness of postcolonial theory in analysing Irish literature, culture and society. The debate broke out as a reaction to the goals of the Field Day Company’s artistic and intellectual project. The Field Day enterprise was launched by the production of Brian Friel’s play, Translations in Derry City’s Guildhall in 1980. According to Seamus Deane, the founders of the Field Day Company (Friel, Stephen Rea, Tom Paulin, Seamus Deane, Seamus Heaney, and David Hammond), regarded the Northern Irish situation as a colonial crisis and set out to respond to the crisis by 1 Brian Friel quoted in Irish Drama 1900-1980, eds Cóilín D. Owens and Joan N. Radner, Washington DC: The Catholic University of America Press, 1990, 696. 2 Seamus Deane, “Introduction”, in Nationalism, Colonialism and Literature, ed. Seamus Deane, Minneapolis: University of Minnesota Press, 1990, 10.
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