TWO GREAT POLITICAL PLAYS from IRELAND Ilha Do Desterro: a Journal of English Language, Literatures in English and Cultural Studies, Núm
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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 Kosok, Heinz DOOMED VOLUNTEERS: TWO GREAT POLITICAL PLAYS FROM IRELAND Ilha do Desterro: A Journal of English Language, Literatures in English and Cultural Studies, núm. 58, enero-junio, 2010, pp. 77-98 Universidade Federal de Santa Catarina Florianópolis, Brasil Available in: http://www.redalyc.org/articulo.oa?id=478348696004 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 Doomed Volunteers: Two Great Political... 77 DOOMED VOLUNTEERS: TWO GREAT POLITICAL PLAYS FROM IRELAND Heinz Kosok University of Wuppertal Abstract: Seamus Byrne’s Design for a Headstone (1950) and Brian Friel’s Volunteers (1975) are some of the most controversial plays in the canon of Irish drama, exceptional in their explicit political implications. Loosely based on the role of the IRA in the Republic, they achieve a high degree of universality in their discussion of such provocative issues as political radicalism, internment, hunger strike, the role of the Church in society, passive resistance vs. active rebellion, justice vs. humanity, and loyalty vs. betrayal. In their tragic endings, both plays reveal a deep pessimism on the part of their authors. Keywordsds: Byrne, Friel, Political Drama, IRA, Tragedy. Frank O’Connor, in The Backward Look, has claimed that all Irish literature is characterised by what he calls a “political note”, and he insists: “I know no other literature so closely linked to the immediate reality of politics” (121). In a fairly general sense, this is also true of Irish drama. If, however, “politics” is more specifically understood as the struggle for the acquisition of power in society and the conflicts Ilha do Desterro Florianópolis nº 58 p. 077-098 jan/jun. 2010 78 Heinz Kosok between various social groups arising from such a pursuit, political plays in Ireland are much less frequent than might be expected from O’Connor’s dictum. Admittedly, Irish drama knew a number of polemical protest plays against the evils of colonialism, indignant rejections of anything English or sentimental glorifications of the superior virtues of the Irish nation, but these often lacked true dramatic qualities, the juxtaposition of radically opposed points of view that are given an equal hearing. The two plays to be discussed in this paper, Seamus Byrne’s Design for a Headstone and Brian Friel’s Volunteers, must therefore be seen as exceptions in Irish drama. At the same time, they are outstanding plays in their own right, although, for a variety of reasons, they have not found the attention they deserve.1 On April 8, 1950, the Abbey Theatre staged Design for a Headstone in a production directed by Ria Mooney. According to Robert Hogan, the play met with initial resistance from conservative Church circles: On its sixth night, Maria Duce, an ultra-right wing Catholic organization, staged a demonstration in the theatre: protests were shouted, an attempted assault was made on Byrne, and several young men dashed down the aisle shouting, in refutation of a remark in the play, “Maritain was wrong!”. Police were brought in on the next night; the demonstration, lacking popular support, dwindled away; and the play had a successful six weeks’ run. (Hogan, Seven Irish Plays 97) It is highly unlikely that the protest was occasioned merely by a subtle point of Catholic theology. The actor and critic Gabriel Fallon, apparently an eyewitness, admits as much when, in his brief introduction to the printed version, he lists the charges brought against the author: he was “(a) using his play ‘as a vehicle for Marxian philosophy’; (b) attempting to ‘smear the Catholic priesthood’; (c) insulting Ireland, Irishmen, and a Temperance Association” (Byrne, Design for a Headstone 4).2 However amusing the conjunction of Ireland, Irishmen and a Doomed Volunteers: Two Great Political... 79 Temperance Association may appear today, the quotation indicates that Byrne was accused of a heinous offence: the promulgation of ”un-Irish activities”, an accusation that had driven many other Irish writers into self-chosen exile. For conservative Irish circles, Byrne had, of course, been a suspect for a number of years. While practising as a solicitor in Leitrim, he had become involved in politics and had been jailed for illegal radio transmissions on behalf of the IRA in 1940. In prison he had gone on hunger strike for twenty-one days, as a consequence of which he was released, having served nine months of his two-year sentence.3 In the year following Design for a Headstone, the Abbey company (which had just moved into the huge and shabby Queen’s Theatre), produced Byrne’s Innocent Bystander (unpublished), apparently a play about embezzling solicitors in the provinces (Hogan, Seven Irish Plays 97) and thus another criticism of contemporary Irish society. Byrne’s second published play, Little City, written soon after the Abbey fire, was so controversial that it had to wait until 1962 before it could be staged in Ireland, and then only in front of the international audiences at the Gate during the Dublin Theatre Festival, where the theatre enjoyed a certain amount of liberal scope. According to M.J. Molloy, the long-term rejection of Little City by the Abbey and other theatres silenced Byrne as a playwright (Byrne, Little City 6). Given the political and social climate in Ireland during the nineteen-fifties, the rejection cannot surprise anyone, because the play dealt explicitly with the prevalent Irish attitude to abortion. Byrne, then, was a highly controversial playwright who dared to touch subjects which others preferred to leave alone. This is also true of Design for a Headstone. Set in the 1940s, it deals with a large group of IRA prisoners in the remand section of an Irish prison (probably Mountjoy) who are awaiting their sentence and will in all likelihood be refused the status of political prisoners they claim for themselves. They prepare and stage a mass breakout which fails because the plans have been betrayed by someone. The play therefore ends with a collective disaster which is bound to arouse the audience’s compassion. At the 80 Heinz Kosok same time, it also ends with individual disasters for a number of characters who are differentiated sharply, and it is their individual positions that make for most of the intellectual interest the play generates. Given Byrne’s personal experience, it cannot surprise anyone that his play has a solid autobiographical foundation. It is clear from every page of the printed text that the author writes from first-hand knowledge when he describes the conditions in an Irish prison in mid-century. The layout of the prison buildings, sketched in quite skilfully in the dialogue as well as in the stage directions, the relative roles of warders, prison chaplain, criminal prisoners, political remand prisoners and wardsmen, the hierarchy among the prisoners, not always accepted freely, the prison jargon, and, of course, the discussions on the hunger strike twice begun during the play, all have the ring of immediate authenticity, and so do individual speeches, for instance Conor’s induction of the younger members to the terrors of solitary confinement: Solitary can be undermining, over a long period. No books, no papers. Sometimes, not even a Rosary beads. Yes, you can do a lot of things with a beads, besides, just pray. Fiddle with them – feel them – get to recognise, by touch alone, a flaw in a single bead. Four white walls, to four black walls, changing to four white walls again. Dreary enough! Play tricks with the light that streams down from the cell window–project an image on to the wall, and wait for the shadowy bars to form again against the white. Trace the veins in the back of your hand. Or study, for the millionth time, the Venetian red door, unsmiling as a sulky child–Yes, it can be undermining; but it need not be, at all. Set out for a walk from your home place, as I often did, in my mind’s eye; though I never got very far on my walk, for I stopped and chatted with people I knew, and with people I didn’t even like. (34)4 Doomed Volunteers: Two Great Political... 81 One might even argue that the author’s personal experience is responsible for the intricacies of the plot and for the wealth of details some of which are superfluous, even detrimental to an understanding of the play and could be confusing in performance if the text should fall into the hands of an inexperienced director. Awareness of this autobiographical layer, however important it must have been to the author, is, of course, not indispensable for an appreciation of the play, while the historical background he also sketches in, is essential for its understanding. It must be remembered that in the 1940s when the action is supposed to take place, the IRA was proscribed in Ireland, and membership was considered a criminal offence. Since the armed struggle for independence after the end of the First World War, the status and the self-chosen ideological position of the IRA had undergone a number of significant changes. When the ”Anglo-Irish Treaty” was signed in December 1921 and was subsequently approved by a narrow majority of the Dáil, this led to a sharp division in the ranks of the Irish forces who until then had fought for Irish independence.