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Challenging the People, the State and the Patriarchy in 1980S Irish Theatre

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Challenging the People, the State and the Patriarchy in 1980S Irish Theatre Provided by the author(s) and NUI Galway in accordance with publisher policies. Please cite the published version when available. Title Provoking performance: challenging the people, the state and the patriarchy in 1980s Irish Theatre Author(s) O'Beirne, Patricia Publication Date 2018-08-28 Publisher NUI Galway Item record http://hdl.handle.net/10379/14942 Downloaded 2021-09-27T14:54:59Z Some rights reserved. For more information, please see the item record link above. Provoking Performance: Challenging the People, the State and the Patriarchy in 1980s Irish Theatre Candidate: Patricia O’Beirne Supervisor: Dr. Ian Walsh School: School of Humanities Discipline: Drama and Theatre Studies Institution: National University of Ireland, Galway Submission Date: August 2018 Summary of Contents: Provoking Performance: Challenging the People, the State and the Patriarchy in 1980s Irish Theatre This thesis offers new perspectives and knowledge to the discipline of Irish theatre studies and historiography and addresses an overlooked period of Irish theatre. It aims to investigate playwriting and theatre-making in the Republic of Ireland during the 1980s. Theatre’s response to failures of the Irish state, to the civil war in Northern Ireland, and to feminist and working-class concerns are explored in this thesis; it is as much an exploration of the 1980s as it is of plays and playwrights during the decade. As identified by a literature review, scholarly and critical attention during the 1980s was drawn towards Northern Ireland where playwrights were engaging directly with the conflict in Northern Ireland. This means that proportionally the work of many playwrights in the Republic remains unexamined and unpublished. In addressing this knowledge gap my research provides a broad and unique study of theatre in Ireland in the specific period—the1980s— and a focused dramaturgical examination of particular plays with specific themes representative of the period. Feminist readings of work by Mary Elizabeth Burke-Kennedy, Dolores Walshe, Patricia Burke-Brogan and Anne Le Marquand Hartigan reveal Irish women’s dissatisfaction and anger with church and state and engage with the feminist movement throughout the 1980s from essentialist second-wave feminism to a feminist rejection of compromise or negotiation with the patriarchy. Plays by Thomas Kilroy, Hugh Leonard, Tom Murphy, and Aidan Carl Mathews among others demonstrate a vehement anti- state stance in the Republic at the time, along with postcolonial or revisionist themes so resonant of their time and of the impact of the conflict in Northern Ireland. The use of a Bakhtinian framework allows the plays of The Passion Machine Theatre Company to reveal challenging and provocative working-class themes. My work opens up fertile new ground for scholarship in this area, helping us to understand the artistic, cultural and social motivation of those writing in 1980s Ireland and revealing their influences and perspectives. 1 Acknowledgements Many thanks to Ian Walsh, my supervisor throughout my four years of research. He was unstinting in his support and always helpful in directing me to new sources of inspiration and knowledge. His insight, experience and sense of humour were always on hand and much appreciated. The lecturers and staff at the Drama and Theatre Department at NUI Galway are ever warm, approachable and knowledgeable, so a big thank you to all but especially to Charlotte McIvor and Patrick Lonergan, both of whom encouraged and inspired me throughout my Masters in Drama at the college and continued to do so when I returned as a PhD candidate. Patrick’s input with funding and applications ultimately made my fellowship with the Abbey Theatre possible and for that I am very grateful. Archivist Barry Houlihan was always extremely generous with his help and time and likewise the other archivists and librarians in NUIG’s Special Collections. Their support and the pleasant surroundings of the Reading Room meant researching the collections was always an enjoyable experience. The English Department also provided mentors and support, particularly from Justin Tonra and Lionel Pilkington. I cannot imagine what my years of study would have been like without my fellow travellers, i.e. my colleagues and companion PhD candidates in NUI Galway. Thank you all for your companionship, for the shared journeys and meals, and for the conversations and craic and the best of luck to you all with your own studies and careers. For always being there, for listening, for laughs and love, thanks to Mike, Martha and Ziggy. 2 Table of Contents List of Figures and Tables ......................................................................... 5 Introduction ................................................................................................ 6 Aims and Objectives .................................................................................. 8 Methodology ............................................................................................ 13 Thematic Content of Chapters ................................................................. 20 Literature Review of Academic Analyses of 1980s Irish Theatre ........... 25 Northern Irish Drama in the 1980s .......................................................... 27 Meanwhile, South of the Border... ........................................................... 34 Opening Conclusion ................................................................................ 41 Introduction Works Cited ........................................................................ 43 Chapter One: The Women Are Talking; Is Anyone Listening? Feminist Theatre in 1980s Ireland .......................................................................... 46 Background .............................................................................................. 46 Feminism in Ireland in the Twentieth Century ........................................ 48 Feminist Theory and Theatre ................................................................... 54 Statistical Analysis ................................................................................... 58 What the Playwrights Wrote .................................................................... 63 Challenging the Patriarchy ...................................................................... 73 Negotiating with the Patriarchy ............................................................... 84 Writing Feminism from a Male Perspective ............................................ 96 Contemporaneous Reviews and Publication Status ............................... 101 Conclusion to The Women are Talking ................................................. 107 Chapter One Works Cited ...................................................................... 114 Chapter Two: Staging the GUBU State; Farce, Satire and Protest Theatre in 1980s Ireland ......................................................................................... 125 Introduction ............................................................................................ 125 Analytical Focus and Background ......................................................... 127 3 Literature Review .................................................................................. 130 Irish Theatre and the State in the 1980s ................................................. 142 Taking on the Troubles .......................................................................... 146 The Border Counties .............................................................................. 154 Staging Debate; Postcolonialism in Kilroy and Leonard ...................... 160 Tom Murphy’s Blue Republic ............................................................... 173 Inevitably Antigone ............................................................................... 178 Conclusion of Staging the GUBU State ................................................ 188 Chapter Two Works Cited ..................................................................... 190 Chapter Three: In Dublin’s ‘Fair’ City? Working-class Plays in 1980s Ireland .................................................................................................... 199 Popular Entertainment, Utopian Worlds and Working-Class Literature201 Bakhtin and the Carnival World ............................................................ 206 A Marxist Response ............................................................................... 214 1980s Irish Society ................................................................................ 216 The Playwrights ..................................................................................... 219 The Passion Machine ............................................................................. 231 The Passion Machine Plays ................................................................... 236 The Passion Machine’s Critical Reception ............................................ 258 Conclusion for In Dublin’s ‘Fair’ City .................................................. 263 Chapter Three Works Cited ................................................................... 269 Conclusion to Provoking Performances ................................................ 276 Feminist Theatre: the Women have Spoken .......................................... 279 Theatre and the State in Ireland in the 1980s: The GUBU State Staged283 In Dublin ‘Fair’ City: Working Class Bodies on Stage ......................... 287
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