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"Groaning wicked like a maddening dog": Bestiality, Modernity and Irishness in J. M. Synge's The Playboy of the Western World
Cet article est une invitation à se saisir des différentes lettres du mot déséquilibre afin de déchiffrer les stratégies mises en place par J.M.Synge dans La Fontaine aux saints pour redéfinir aveuglement et clairvoyance hors de tout a priori évaluatif. Ainsi, la complexité des entrelacs entre « désir », « dire » et « délire » au cœur de l’intrigue dramatique conduit-elle le lecteur/spectateur « éberlué » à concevoir le « lire » comme de subtils jeux d’équilibrages. Le contexte historique révèle en outre la dimension politique et subversive de cette véritable quête de liberté de pensée.
This paper is part of a larger project in which the author is interested in recovering popular performative traditions and practices that have been occluded by the modernist project of the Irish Revival. This erasure has been compounded by subsequent historiographical paradigms that have reinforced the revivalist narrative of theatre history and excluded indigenous forms, traditions and practices (mumming, rhymers, strawboys) along with the wider performative culture of patterns, wakes, fairs, faction fights etc. This essay subjects to scrutiny what the author sees as a disjuncture between the riotous reality of peasant popular culture and its representation in Revivalist dramas to argue that Irish Theatre Studies needs to develop alternative historiographies of performance and to methodologically engage with theoretical models extant in Performance Studies.
From the Famine to political hunger strikes, from telling tales in the pub to Beckett's tortured utterances, the performance of Irish identity has always been deeply connected to the oral. Exploring how colonial modernity transformed the spaces that sustained Ireland's oral culture, this book explains why Irish culture has been both so creative and so resistant to modernization. David Lloyd brings together manifestations of oral culture in the nineteenth and twentieth centuries, showing how the survival of orality was central both to resistance against colonial rule and to Ireland's modern definition as a postcolonial culture. Specific to Ireland as these histories are, they resonate with postcolonial cultures globally. This study is an important and provocative new interpretation of Irish national culture and how it came into being.
Beginning with Frantz Fanon's description of the problematic yet energizing effects of decolonization in The Wretched of the Earth (1961), this essay discusses the ways in which the theatre of modernity appears especially attractive to anti-colonial and post-colonial nationalist movements. This dominant and institutional model of theatre presents the colonized, not only as physically decorous, but as efficient and ready for work within a capitalist economy. The essay examines these propositions in relation to twentieth-century Irish theatre and drama. The second part of the essay examines the continuing centrality of performance and professional theatre within current discourses of neoliberalism and performance management. The essay concludes by referring briefly to an array of contemporary theatre groups that re-awaken theatre's potential for ethical self-awareness by refusing many of the core conventions of institutional theatre.
Our Irish Theatre: A Chapter
- Augusta Gregory
Caointe Agus Seancheaolta Eile / Keening and Other Old Irish Musics. Indreabhán
- Ó Madagáin
- Breandán
Collected Works, Plays Book Ii
- J M Synge
Keening as Theatre: J. M. Synge and the Irish Lament Tradition
- Angela Bourke