DOCSLIB.ORG

Land, Religion and Family in the Plays of Martin Mcdonagh and Dermot Bolger

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Land, Religion and Family in the Plays of Martin Mcdonagh and Dermot Bolger POSTNATIONALIST SUBVERSION OF THE CONSTITUENTS OF IRISHNESS: LAND, RELIGION AND FAMILY IN THE PLAYS OF MARTIN MCDONAGH AND DERMOT BOLGER A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF SOCIAL SCIENCES OF MIDDLE EAST TECHNICAL UNIVERSITY BY SEDA ÖRMENGÜL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THE DEPARTMENT OF ENGLISH LITERATURE JULY 2015 Approval of the Graduate School of Social Sciences Prof. Dr. Meliha Altunışık Director I certify that this thesis satisfies all the requirements as a thesis for the degree of Doctor of Philosophy. Assoc. Prof. Dr. Nurten Birlik Head of Department This is to certify that we have read this thesis and that in our opinion it is fully adequate, in scope and quality, as a thesis for the degree of Doctor of Philosophy. Assist. Prof. Dr. Margaret J. M. Sönmez Supervisor Examining Committee Members Assoc. Prof. Dr. Ünal Norman (METU, FLE) Assist. Prof. Dr. Margaret J.M. Sönmez (METU, FLE) Prof. Dr. Deniz Bozer (Hacettepe U, IDE) Assoc. Prof. Dr. Özlem Uzundemir (Çankaya U., ELL) Assist. Prof. Dr. Nil Korkut-Naykı (METU, FLE) I hereby declare that all information in this document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work. Name, Last name : Seda Örmengül Signature : iii ABSTRACT POSTNATIONALIST SUBVERSION OF THE CONSTITUENTS OF IRISHNESS: LAND, RELIGION AND FAMILY IN THE PLAYS OF MARTIN MCDONAGH AND DERMOT BOLGER Örmengül, Seda Ph.D., Department of English Literature Supervisor: Assist. Prof. Dr. Margaret J.M. Sönmez July 2015, 260 pages The social, political and economic changes undergone by the Republic of Ireland since the 1990s resulted in critical changes in the perception of Irish national identity and nationalist ideology. It was a new period characterized by its epithet, the Celtic Tiger, a period of rapid economic growth, and the opening up of Irish economy and politics to the world. The Irish society was now characterized by the diversity and complexities as a consequence of its interaction with the globalized world. In this context, nationalism began to give way to postnationalism which promoted plural and complicated definitions of Irishness drawing attention to the diversity and complexities of the Irish society. Changes in the perception of Irishness were reflected in theatre as well. Playwrights writing in the 1990s challenged the concept of a stable and coherent Ireland and Irishness by problematizing the very notion of nation and by celebrating plurality and multiplicity. They attempted to problematize the foundational elements of traditional Irishness, such as land, nationalistic fervor and Catholic religion. The aim of this study is to analyze the plays of Martin McDonagh and Dermot Bolger as plays written in a postnational context, and explore how they treat the constituents of Irishness – land, religion and family - and reconfigure them from a postnationalist perspective. iv Keywords: Irish Theatre, Irishness, Nationalism, Postnationalism, the Celtic Tiger Period v ÖZ İRLANDALILIĞI OLUŞTURAN TEMEL UNSURLARIN POSTMİLLİYETÇİ AÇIDAN ALTÜST EDİLMESİ: MARTIN MCDONAGH VE DERMOT BOLGER’IN OYUNLARINDA TOPRAK, DİN VE AİLE Örmengül, Seda Doktora, İngiliz Edebiyatı Bölümü Tez Yöneticisi: Yrd. Doç. Dr. Margaret J.M. Sönmez Temmuz 2015, 260 sayfa İrlanda’nın 1990’lı yıllardan itibaren içinden geçtiği sosyal, politik ve ekonomik değişimler, İrlanda ulusal kimliği ve ulusal ideolojinin algılanışında önemli değişikliklere yol açmıştır. İrlanda’nın Kelt Kaplanı adıyla anıldığı bu yeni dönem, hızlı bir ekonomik yükselme ve İrlanda ekonomisinin ve siyasetinin dünyaya açılma dönemi olmuştur. Globalleşen dünya ile yaşadığı etkileşim sonucu, İrlanda toplumu bu dönemde farklılıkların öne çıktığı, karmaşık bir sosyal yapıya dönüşmüştür. Bu bağlamda, milliyetçilik yerini postmilliyetçiliğe bırakmaya başlamıştır ki postmilliyetçilik İrlandalılığın çoğulcu ve karmaşık tanımlamalarını ön plana çıkarmaktadır. İrlandalılığın algılanmasındaki bu değişiklikler tiyatroya da yansımıştır. 1990’lı yıllarda yazan oyun yazarları, ulus kavramını sorunsallaştırarak ve çoğulculuk ve farklılığı ön planda tutarak, durağan ve tutarlı bir İrlanda ve İrlandalılık kavramına karşı çıkmışlardır. Bu çalışmanın amacı Martin Mcdonagh ve Dermot Bolger’in oyunlarını postmilliyetçi bağlamda yazılmış oyunlar olarak analiz etmek ve toprak, din, aile gibi İrlandalılığın oluşturan temel bileşenleri nasıl ele aldıklarını ve onları postmilliyetçi bir açıdan nasıl tekrar kurguladıklarını göstermektir. Anahtar Kelimeler: İrlanda Tiyatrosu, İrlandalılık, Milliyetçilik, postmilliyetçilik, Kelt Kaplanı Dönemi vi To those who deny and are denied any kinds of affiliation vii ACKNOWLEDGMENTS I would like express my deepest thanks and gratitude to my advisor Assist. Prof. Dr. Margaret Sönmez for her intellectual guidance, her kindhearted and nurturing supervision, her emotional support and especially for her patience in reading my draft chapters over and again and encouraging me in my laziest times. Her positive energy was my greatest luck throughout my writing process. I am deeply grateful to Assoc. Prof. Dr. Ünal Norman for her precious comments and suggestions for this study. I am also forever indebted to her for the deep imprint she left in both my academic and private life with her inspiring graduate seminars, her words of wisdom and life lessons. I would like to thank Prof. Dr. Deniz Bozer for her invaluable comments, suggestions and ideas. I also feel privileged to have attended one of her graduate courses at Hacettepe University. It was while taking this course that I became acquainted with the work of Martin McDonagh, and some of the ideas in this study occurred to me. I would like to thank Assist. Prof. Dr. Nil Korkut Naykı for her meticulous reading of my work and her insightful suggestions and comments. I also wish to thank her for offering me the opportunity to follow her undergraduate classes, which provided me with unique guidance for my future teaching experiences. I am grateful to Assoc. Prof. Dr. Özlem Uzundemir for her valuable contributions, comments and her positive attitude. I could not survive this academic journey without the companionship of my dearest friends Zeynep Ölçü Dinçer, Özlem Türe Abacı, Gözde Balıkçı, Gülden Taner and Mehmet Akkuş. They supported and encouraged me in my most desperate moments and never let me give up this compelling adventure. Words fail me to express the value of their place in my life. I am indebted to Reyyan Bal for not only sharing my academic sufferings but for listening to my complaints during my existential crises and supporting me with her precious advices. viii Many thanks also to Fatma Gümüşok, Ufuk Ataş, Elzem Nazli, Özlem Arslan and Aslı Kutluk for their solidarity and moral support. I will never forget the moment when I saw all my excited friends around me after my thesis defense. I am forever indebted to each and every of them to make me feel that I am loved and valued. I extend my thanks to Seda Coşar Çelik, Buket Doğan, Emel Yüksel, Şermin Sezer and Şule Akdoğan. They are now all away in their own adventures, but I feel their support and fellowship by my side whenever I need. Much love and thanks to my mother Süreyya Gül Cantimur and my brother Arda Cantimur for their constant support and everlasting faith in me. And last, but always first, thanks to my husband Erman Örmengül who deserves this Ph.D. degree more than I do. I am indebted to him for his inexhaustable patience, affection and unconditional love. ix TABLE OF CONTENTS PLAGIARISM .......................................................................................................... iii ABSTRACT .............................................................................................................. iv ÖZ .............................................................................................................................. vi DEDICATION ......................................................................................................... vii ACKNOWLEDGMENTS ....................................................................................... viii TABLE OF CONTENTS ........................................................................................... x CHAPTER 1. INTRODUCTION .......................................................................................... 1 1.1 Before the Abbey .................................................................................. 4 1.2 The Abbey: Searching for Irishness ...................................................... 7 1.3 The Second Renaissance: A Period of Existential Crisis .................... 15 1.4 A New Generation: Overcoming Limitations of Nation ..................... 18 1.5 The Aim and Scope of the Study ........................................................ 20 2. DEBATES AROUND NATIONALISM AND POSTNATIONALISM ..... 22 2.1 Theorizing Nation and Nationalism .................................................... 22 2.1.1 Theories of Nationalism: Implications ....................................... 25 2.1.2 Modernists .................................................................................. 26 2.1.3 Modern Primordialists ................................................................ 29 2.2 Postnationalism ................................................................................... 31 2.3
Load more

Recommended publications
  • Irish Historic Towns Atlas (IHTA), No. 20, Tuam Author
    Digital content from: Irish Historic Towns Atlas (IHTA), no. 20, Tuam Author: J.A. Claffey Editors: Anngret Simms, H.B. Clarke, Raymond Gillespie, Jacinta Prunty Consultant editor: J.H. Andrews Cartographic editor: Sarah Gearty Editorial assistants: Angela Murphy, Angela Byrne, Jennnifer Moore Printed and published in 2009 by the Royal Irish Academy, 19 Dawson Street, Dublin 2 Maps prepared in association with the Ordnance Survey Ireland and Land and Property Services Northern Ireland The contents of this digital edition of Irish Historic Towns Atlas no. 20, Tuam, is registered under a Creative Commons Attribution-Non Commercial 4.0 International License. Referencing the digital edition Please ensure that you acknowledge this resource, crediting this pdf following this example: Topographical information. In J.A. Claffey, Irish Historic Towns Atlas, no. 20, Tuam. Royal Irish Academy, Dublin, 2009 (www.ihta.ie, accessed 4 February 2016), text, pp 1–20. Acknowledgements (digital edition) Digitisation: Eneclann Ltd Digital editor: Anne Rosenbusch Original copyright: Royal Irish Academy Irish Historic Towns Atlas Digital Working Group: Sarah Gearty, Keith Lilley, Jennifer Moore, Rachel Murphy, Paul Walsh, Jacinta Prunty Digital Repository of Ireland: Rebecca Grant Royal Irish Academy IT Department: Wayne Aherne, Derek Cosgrave For further information, please visit www.ihta.ie TUAM View of R.C. cathedral, looking west, 1843 (Hall, iii, p. 413) TUAM Tuam is situated on the carboniferous limestone plain of north Galway, a the turbulent Viking Age8 and lends credence to the local tradition that ‘the westward extension of the central plain. It takes its name from a Bronze Age Danes’ plundered Tuam.9 Although the well has disappeared, the site is partly burial mound originally known as Tuaim dá Gualann.
    [Show full text]
  • Movie Museum FEBRUARY 2009 COMING ATTRACTIONS
    Movie Museum FEBRUARY 2009 COMING ATTRACTIONS THURSDAY FRIDAY SATURDAY SUNDAY MONDAY VICKY CRISTINA IN BRUGES BOTTLE SHOCK ARSENIC AND IN BRUGES BARCELONA (2008-UK/Belgium) (2008) OLD LACE (2008-UK/Belgium) (2008-Spain/US) in widescreen in widescreen in widescreen in Catalan/English/Spanish w/ (1944) with Chris Pine, Alan with Cary Grant, Josephine English subtitles in widescreen with Colin Farrell, Brendan with Colin Farrell, Brendan Hull, Jean Adair, Raymond with Rebecca Hall, Scarlett Gleeson, Ralph Fiennes, Rickman, Bill Pullman, Gleeson, Ralph Fiennes, Johansson, Javier Bardem, Clémence Poésy, Eric Godon, Rachael Taylor, Freddy Massey, Peter Lorre, Priscilla Clémence Poésy, Eric Godon, Penelopé Cruz, Chris Ciarán Hinds. Rodriguez, Dennis Farina. Lane, John Alexander, Jack Ciarán Hinds. Messina, Patricia Clarkson. Carson, John Ridgely. Written and Directed by Written and Directed by Directed and Co-written by Written and Directed by Woody Allen. Martin McDonagh. Randall Miller. Directed by Martin McDonagh. Frank Capra. 12:30, 2:30, 4:30, 6:30 12:30, 2:30, 4:30, 6:30 12:30, 2:30, 4:30, 6:30 12:30, 2:30, 4:30, 6:30 & 8:30pm 5 & 8:30pm 6 & 8:30pm 7 12:30, 3, 5:30 & 8pm 8 & 8:30pm 9 Lincoln's 200th Birthday THE VISITOR Valentine's Day THE VISITOR Presidents' Day 2 for 1 YOUNG MR. LINCOLN (2007) OUT OF AFRICA (2007) THE TALL TARGET (1951) (1939) in widescreen (1985) in widescreen with Dick Powell, Paula Raymond, Adolphe Menjou. with Henry Fonda, Alice with Richard Jenkins, Haaz in widescreen with Richard Jenkins, Haaz Directed by Anthony Mann.
    [Show full text]
  • In Kindergarten with the Author of WIT
    re p resenting the american theatre DRAMATISTS by publishing and licensing the works PLAY SERVICE, INC. of new and established playwrights. atpIssuel 4,aFall 1999 y In Kindergarten with the Author of WIT aggie Edson — the celebrated playwright who is so far Off- Broadway, she’s below the Mason-Dixon line — is performing a Mdaily ritual known as Wiggle Down. " Tapping my toe, just tapping my toe" she sings, to the tune of "Singin' in the Rain," before a crowd of kindergarteners at a downtown elementary school in Atlanta. "What a glorious feeling, I'm — nodding my head!" The kids gleefully tap their toes and nod themselves silly as they sing along. "Give yourselves a standing O!" Ms. Edson cries, when the song ends. Her charges scramble to their feet and clap their hands, sending their arms arcing overhead in a giant "O." This willowy 37-year-old woman with tousled brown hair and a big grin couldn't seem more different from Dr. Vivian Bearing, the brilliant, emotionally remote English professor who is the heroine of her play WIT — which has won such unanimous critical acclaim in its small Off- Broadway production. Vivian is a 50-year-old scholar who has devoted her life to the study of John Donne's "Holy Sonnets." When we meet her, she is dying of very placement of a comma crystallizing mysteries of life and death for ovarian cancer. Bald from chemotherapy, she makes her entrance clad Vivian and her audience. For this feat, one critic demanded that Ms. Edson in a hospital gown, dragging an IV pole.
    [Show full text]
  • Satiric Representations of Violence in Martin Mcdonagh's the Beauty
    Hacettepe University Graduate School of Social Sciences Department of English Language and Literature British Cultural Studies SATIRIC REPRESENTATIONS OF VIOLENCE IN MARTIN McDONAGH’S THE BEAUTY QUEEN OF LEENANNE, A SKULL IN CONNEMARA AND THE LIEUTENANT OF INISHMORE İmren Yelmiş PhD Dissertation Ankara, 2014 SATIRIC REPRESENTATIONS OF VIOLENCE IN MARTIN McDONAGH’S THE BEAUTY QUEEN OF LEENANE, A SKULL IN CONNEMARA AND THE LIEUTENANT OF INISHMORE İmren Yelmiş Hacettepe University Graduate School of Social Sciences Department of English Language and Literature British Cultural Studies PhD Dissertation Ankara, 2014 iii ACKNOWLEDGEMENTS First and foremost, I would like to express my gratitude to my supervisor, Prof. Dr. A. Deniz Bozer for her motivation and patient guidance throughout the writing process of this dissertation. She has always been a “light” to me. This dissertation would not have been possible without her great guidance and support. I am extremely grateful to Prof. Dr. Burçin Erol, Prof. Dr. Belgin Elbir, Assoc. Prof. Dr. Huriye Reis and Asst. Prof. Dr. Şebnem Kaya for all their support and suggestions. I would like to thank Prof. Nicholas Grene, for accepting me to Trinity College, which gave me the opportunity to discuss my dissertation with him, to do research at Trinity College Library and to addend the Synge Summer School. I also would like to thank Patrick Lonergan, the academic director of the School, whose discussions on contemporary Irish drama contributed to my academic development. Moreover, I would like to express my thanks to Assoc. Prof. Dr. Gülşen Sayın, Res. Asst. Nazan Yıldız, Res. Asst. Hakan Yılmaz, Res. Asst.
    [Show full text]
  • Curriculum Vitae Dr. Richard Rankin Russell Professor of English
    1 Curriculum Vitae Dr. Richard Rankin Russell Professor of English Graduate Program Director Baylor University Education: Ph.D. in English Literature at the University of North Carolina at Chapel Hill (UNC), 2001 M.A. in English Literature, UNC, 1997 M. Phil. in English Literature (Modernism), University of Glasgow (Scotland), 1996 B.A., summa cum laude (4.0), British and American Literature, University of Memphis, 1994 Books: 1. Seamus Heaney: A Critical Introduction, University of Edinburgh Press; trade paperback distribution in North and South America by Oxford University Press. 297 pp. Fall 2016. Favorably reviewed in New Hibernia Review, Winter 2016. 2. Seamus Heaney’s Regions. University of Notre Dame Press, June 2014. 498 pp. Second printing, 2015. Favorably reviewed in Publisher's Weekly, The Oxonian, Irish Studies Review, Heythrop Journal, New Hibernia Review, Year’s Work in English Studies, and the Irish Literary Supplement. Winner of the Robert Penn Warren/Cleanth Brooks Award for outstanding book in literary criticism in the United States for 2014. Foreword Reviews 2014 INDIEFAB Book of the Year Award Finalist in History. 3. Editor, Bernard MacLaverty: New Critical Readings. Bloomsbury Academic, 2014. 191 pp. Favorably reviewed in Year’s Work in English Studies (2016). 4. Modernity, Community, and Place in Brian Friel’s Drama. Syracuse University Press, Irish Studies series, 2013. 318 pp. 2nd expanded edition forthcoming in paperback, 2019. Favorably reviewed in Choice, Irish University Review, Comparative Drama, Studies: An Irish Quarterly, Irish Studies Review, Modern Drama, Contemporary Theatre Review, New Hibernia Review, and Estudios Irlandeses. 5. Editor, Peter Fallon: Poet, Publisher, Editor, and Translator.
    [Show full text]
  • An Abstract of the Thesis Of
    AN ABSTRACT OF THE THESIS OF Nicolas Evans for the degree of Master of Arts in English presented on June 2, 2017. Title: (Mis)representation & Postcolonial Masculinity: The Origins of Violence in the Plays and Films of Martin McDonagh. Abstract approved: ______________________________________________________ Neil R. Davison This thesis examines the postmodern confrontation of representation throughout the oeuvre of Martin McDonagh. I particularly look to his later body of work, which directly and self-reflexively confronts issues of artistic representation & masculinity, in order to gain a more nuanced understanding of his earliest and most controversial plays. In part, this thesis addresses misperceptions regarding The Leenane Trilogy, which was initially criticized for the plays’ shows of irreverence and use of caricature and cultural stereotypes. Rather than perpetuating propagandistic or offensive representations, my analysis explores how McDonagh uses affect and genre manipulation in order to parody artistic representation itself. Such a confrontation is meant to highlight the inadequacy of any representation to truly capture “authenticity.” Across his oeuvre, this postmodern proclivity is focused on disrupting the solidification of discourses of hyper-masculinity in the vein of postcolonial, diasporic, and mainstream media’s constructions of masculinity based on aggression and violence. ©Copyright by Nicolas Evans June 2, 2017 All Rights Reserved (Mis)representation & Postcolonial Masculinity: The Origins of Violence in the Plays and Films of Martin McDonagh by Nicolas Evans A THESIS submitted to Oregon State University in partial fulfillment of the requirements for the degree of Master of Arts Presented June 2, 2017 Commencement June 2017 Master of Arts thesis of Nicolas Evans presented on June 2, 2017 APPROVED: Major Professor, representing English Director of the School of Writing, Literature, and Film Dean of the Graduate School I understand that my thesis will become part of the permanent collection of Oregon State University libraries.
    [Show full text]
  • A True and Lonesome West: the Spaces of Sam Shepard and Martin Mcdonagh
    Georgia State University ScholarWorks @ Georgia State University English Theses Department of English Winter 12-18-2012 A True and Lonesome West: The Spaces of Sam Shepard and Martin McDonagh Sarah A. Dyne [email protected] Follow this and additional works at: https://scholarworks.gsu.edu/english_theses Recommended Citation Dyne, Sarah A., "A True and Lonesome West: The Spaces of Sam Shepard and Martin McDonagh." Thesis, Georgia State University, 2012. https://scholarworks.gsu.edu/english_theses/142 This Thesis is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. A TRUE AND LONESOME WEST: THE SPACES OF SAM SHEPARD AND MARTIN MCDONAGH by SARAH DYNE Under the Direction of Dr. Marilynn Richtarik ABSTRACT In this project, I explore how Sam Shepard and Martin McDonagh treat concepts of space (both on stage and within a larger context that expands beyond the theatre), and I seek to identify how underlying anxieties about a mythologized past become manifest in the relationships be- tween characters and landscapes by examining heterotopic and liminal elements in their scripts. Both playwrights are keenly aware of the mythological significance and accompanying re- strictions of their Western spaces not only within the borders of their own countries, but also on a global scale. INDEX WORDS: American West,
    [Show full text]
  • Dermot Crowley
    Dermot Crowley Agents Lindy King Associate Agent Joel Keating [email protected] 0203 214 0871 Assistant Tessa Schiller [email protected] Lucia Pallaris Assistant [email protected] Eleanor Kirby +44 (0) 20 3214 0909 [email protected] Roles Television Production Character Director Company PENNYWORTH (Series 2) Archbishop Potter Danny Cannon Warner Horizon / Epix LIAR (Series 2) Henry Neilson Chris Sweeney ITV HUNTED George Ballard Various Cinemax LUTHER (Series 1 - 5) Martin Schenk Various BBC HARD SUN Father Dennis BBC Chapman THE COLLECTION Edgar Stoddard Dearbhla Walsh | Pinewood Films Dan Zeff No.14 Ltd BORGIA King Ferdinand Film United D'Argon United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Character Director Company FATHER FIGURE Pat Various BBC 1 RAW Dan Kelly Charlie McCarthy Octagon Films Extensive credits include: MARGARET Airey Neave James Kent BBC NEW TRICKS Derek Bennett Julian Simpson Wall to Wall / BBC KINGDOM Mr. Matthews Edward Hall Sprout FOYLE'S WAR Henry Townsend Tristram Powell Greenlit HG WELLS: WAR WITH THE George Bernard Shaw James Kent Wall to Wall WORLD MIDSOMER MURDERS Peter Hatchard Renny Rye Bentley Productions BLEAK HOUSE Mr. Vholes Justin Chadwick BBC SPOOKS Eric Newland Justin Chadwick BBC TRIAL AND RETRIBUTION Dr. Taylor Asling Walsh La Plante Productions HELEN WEST Philip Carlton Justin Chadwick Arrowhead MURDER ROOMS Elkins Tim Fywell BBC A TOUCH OF FROST Bennet Roger
    [Show full text]
  • The Pillowman
    THE PILLOWMAN Company B presents THE PILLOWMAN Written by MARTIN McDONAGH Directed by CRAIG ILOTT The Company B production of The Pillowman opened at Belvoir St Theatre on 4 June 2008 Set Designer NICHOLAS DARE Costume Designer JO BRISCOE Lighting Designer NIKLAS PAJANTI Composer & Sound Designer JETHRO WOODWARD Assistant Sound Designer CHRIS MERCER Fight Director KYLE ROWLING Stage Manager KYLIE MASCORD Assistant Stage Manager SARAH SMITH NIDA Secondment (Stage Management) ISABELLA KERDIJK NIDA Secondment (Technical) JACK HORTON Consultant Clinical Psychologist DR RACHAEL MURRIHY (BA PGDip DPsych) With AMANDA BISHOP Mother MARTON CSOKAS Tupolski LAUREN ELTON Girl DAMON HERRIMAN Katurian STEVE RODGERS Michal DAVID TERRY Father DAN WYLLIE Ariel PRODUCTION THANKS: Chameleon Touring Systems, Kylie Clarke, CODA Audio, Joel Edgerton, Dr Tony Kidman and the UTS Health Psychology Unit, Maurice Menswear Marrickville, Kirsty McGregor, Neil Phipps, Thomas Creative, David Trethewey and Martin McDonagh’s agent – The Rod Hall Agency Limited of 6th Floor Fairgate House 78 New Oxford St London WC1A 1HA. The Pillowman was first presented by the National Theatre at the Cottesloe, London, directed by John Crowley, on 13 November 2003. The production was subsequently produced on Broadway by the National Theatre, Robert Boyett Theatricals LLC and RMJF Inc. in association with Boyett Ostar, Robert Fox, Arielle Tepper, Stephanie P. McClelland, Debra Black, Dede Harris / Cover Image: Alex Craig Morton Swinsky / Roy Furman / Jon Avnet in association with Joyce Schweickert, Photography: Heidrun Löhr opening at the Booth Theatre, New York City, on 10 April 2005. DESIGN: Tim Kliendienst DIRECTOR’S NOTE Katurian: A great man once said is the relationship between art and ‘The first duty of a storyteller is to politics? And perhaps a key question tell a story’.
    [Show full text]
  • Poems of the Irish Revolutionary Brotherhood
    POEMS OF THE ISH REVOLUTIONARY BROTHERHOOD THOMAS MacDONAGH P. H. PEARSE (PADRAIG MacPIARAIS) JOSEPH MARY PLUNKETT SIR ROGER CASEMENT library university tufts Digitized by the Internet Archive in 2016 https://archive.org/details/poemsofirishrevo00colu_0 POEMS OF THE IRISH REVOLUTIONARY BROTHERHOOD POEMS OF THE IRISH REVOLUTIONARY BROTHERHOOD THOMAS MacDONAGH P. H. PEARSE (Padraic MacPiarais) JOSEPH MARY PLUNKETT SIR ROGER CASEMENT Edited by Padraic Cplum AND Edward J. O’Brien Boston Small, Maynard & Company 1916 Copyright, 1916 By Small, Maynard & Company (Incorporated) : CONTENTS Page Introduction vii Prologue: Ways of War. By Lionel Johnson i Thomas MacDonagii: John-John 3 Song from the Irish .... 6 “ ” Envoi to Songs of Myself . 8 Of a Poet Patriot . .11 Death 12 Requies 13 Though Silence Be the Meed of Death 14 Wishes for My Son . .15 O Star of Death . .18 Padraic H. Pearse (Padraic Mac- Piarais) Ideal 24 To Death 26 The World hath Conquered . 27 CONTENTS Page The Dirge of Oliver Grace . 28 On the Fall of the Gael . .33 Joseph Mary Plunkett: White Dove of the Wild Dark Eyes . 36 The Glories of the World Sink Down in Gloom 37 When all the Stars Become a Memory 39 Poppies 40 The Dark Way 41 The Eye-Witness . .44 I See the His Blood upon Rose . 47 1847-1891 48 1867 49 The Stars Sang in God’s Garden . 50 Our Heritage 51 Sir Roger Casement: In the Streets of Catania . .52 Hamilcar Barca . -54 Epilogue: The Song of Red Hanrahan. By W . B. Yeats 56 Notes by P. H. Pearse . .58 Bibliography . .60 INTRODUCTION The years that brought maturity to the three poets who were foremost to sign, and foremost to take arms to assert, Ireland’s Declaration of Inde- pendence, may come to be looked back on as signal days in Irish history.
    [Show full text]
  • IRF Off: Connacht's Fight for Survival and the Foundation Myth of a Rugby Identity
    Provided by the author(s) and NUI Galway in accordance with publisher policies. Please cite the published version when available. Title IRF Off: Connacht's fight for survival and the foundation myth of a rugby Identity Author(s) Cooke, Ruadhán; Ó Cofaigh, Éamon Publication Date 2017-08-24 Cooke, Ruadhán, & Ó Cofaigh, Éamon. (2017). IRF Off: Publication Connacht’s Fight for Survival and the Foundation Myth of a Information Rugby Identity. The International Journal of the History of Sport, 34(3-4), 201-216. doi: 10.1080/09523367.2017.1359162 Publisher Taylor & Francis Link to publisher's https://doi.org/10.1080/09523367.2017.1359162 version Item record http://hdl.handle.net/10379/7027 DOI http://dx.doi.org/10.1080/09523367.2017.1359162 Downloaded 2021-09-28T18:24:13Z Some rights reserved. For more information, please see the item record link above. IRF OFF: CONNACHT’S FIGHT FOR SURVIVAL AND THE FOUNDATION MYTH OF A RUGBY IDENTITY Ruadhán Cooke & Éamon Ó Cofaigh The Connacht Rugby website describes its crest as ‘a modified version of the provincial flag consisting of a dimidiated eagle and an arm wielding a sword’. Little could Connacht have suspected that the arm wielding the sword over the province would one day be that of its own parent body. This article will retrace briefly the history of Connacht Rugby, focusing in particular on the near-death experience of the 2002/03 season. In reviewing the media coverage of a three-week window of protest which ultimately prompted the IRFU to reverse its plan to disband the professional team, this article will critically assess the legacy of the protest movement whose lasting achievements include not just the immediate survival of the franchise but its more recent successes on and off the field.1 The story of Connacht Rugby will be situated in the context of its geographic location and history of economic and social marginalisation.
    [Show full text]
  • Masaryk University
    Masaryk university Faculty of Education Department of English language and literature Bachelor Thesis 2019 Janika Brázdová Masaryk university Faculty of Education Department of English language and literature Janika Brázdová The theme of violence in The Beauty Queen of Leenane and The Lonesome West by Martin McDonagh Bachelor Thesis Supervisor: Mgr. Lucie Podroužková, Ph.D. 2019 I hereby declare that I wrote this bachelor thesis on my own and I used only the sources listed in the bibliography. …...................................... I would like to express my gratitude towards my supervisor Mgr. Lucie Podroužková, Ph.D., for her kind help, support and advice throughout writing this thesis. Abstract The bachelor thesis explores the theme of violence in plays by Irish playwright Martin McDonagh. It focuses on two selected plays The Beauty Queen of Leenane and The Lonesome West both of which together with A Skull in Connemara create The Leenane Trilogy. The thesis focuses on two forms of violence that is physical and psychological abuse within a family. More specifically, violence between mother and daughter and between two brothers. In the introduction Martin McDonagh and his work are presented and also where in the Czech Republic we could have and can encounter his plays. In the second chapter the terms physical, psychological and domestic violence are defined. Furthermore, the basic characteristics of in- yer-face theatre, which McDonagh uses, are described. After that follows the essential part of the thesis which deals with the analysis of the two plays. It starts with The Beauty Queen of Leenane. Firstly, a short plot review is introduced followed by a comment on the characters and the setting.
    [Show full text]