By Mary Luckhurst, Nadine Holdsworth
Focusing on significant and rising playwrights, associations, and diverse theatre practices this Concise significant other examines the foremost concerns in British and Irish theatre considering 1979. Written via major foreign students within the box, this assortment bargains new methods of puzzling over the social, political, and cultural contexts during which particular features of British and Irish theatre have emerged and explores the connection among those contexts and the works produced. It investigates why specific matters and practices have emerged as major within the theatre of this period.
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Extra resources for A Concise Companion to Contemporary British and Irish Drama (Concise Companions to Literature and Culture)
What he advocates, ﬁnally, is an accommodation with the changing world that may be read as complacency, except that it is enriched by his refusal to embrace the certainty that undergirds partial conceptions of history and politics: ‘My friend, confusion is not an ignoble condition’ (67). This is not to suggest, of course, that Translations condones the British action. The act of map-making was economically as well as imperialistically motivated; the British hoped to impose taxes on the Irish more easily while also extinguishing their culture, as Friel makes evident early in the play when Lancey connects the cartographic exercise with taxation (though Owen glosses over the implications of Lancey’s words with his deft ‘translation’ ).
Edgar, David (2001b). ‘Making a Drama out of a Crisis’, Guardian (Saturday Review Section), 7 July, 2. Edwardes, Jane (1996). ‘Srebrenica’, Time Out, 15 October, 24. Gergou, Sophia (2005). Local and Regional Authorities and the Immigration Challenge. Luxembourg: Ofﬁce for Ofﬁcial Publications of the European Communities. Kingston, Jeremy (1996). ‘Trials of a Court Reporter: All the World’s Crime is a Stage for Nicolas Kent’, The Times (features section), 7 October, 1. Langridge, Natasha, and Stephenson, Heidi (1997).
Of course, Lee’s remark was made just three years after the traumatic conﬂict that he believed Americans could view only obliquely, whereas Friel refers to events decades and even centuries old that feel vividly current to many Irish citizens (that is, the battle of the Boyne of 1690 and the Easter Rising of 19161). A scene from Someone Who’ll Watch Over Me, by Friel’s younger contemporary Frank McGuinness (b. 1953), neatly encapsulates the cultural condition. This 1992 drama concerns an Englishman, an Irishman and an American who are taken hostage by Lebanese terrorists.