Translations Brian Friel Coursework

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If the British want to rename every hill and dale, if they want to Anglicize the local language, that seems a small price to exact for the benefits they are giving the Irish in return.

As the evening progresses, it rapidly becomes clear that this price is not small at all.

She also underlines the “need for each other of story-tellers and audience” and states that it is “at the core of Friel’s drama” (75).

The playwright based his story-telling strategy on this connection of an interdependent nature.

Katharine Worth presents three of Friel’s techniques which she sees as fulfilling the goal of enabling the audience.

She first mentions his habit of “bring[ing] the audience in the auditorium closer to the story-tellers” (75).This is a digitized version of an article from The Times’s print archive, before the start of online publication in 1996.To preserve these articles as they originally appeared, The Times does not alter, edit or update them. Language is not just the dramatic currency of '' Translations'' - it is also the play's subject.It reveals the ultimate goal of Friel’s theater, and of the Field Day Theater Company as a whole: they desire to enable their audience by giving them the means to reflect and question, but also by showing them “the possibility of a hopeful change” (76).They decided to take plays like Translations to “remote parts of Northern Ireland and the Republic, where live theater is seldom seen” in an attempt to disseminate ideas” (76).For this reason, Katharine Worth, author of “Story-telling in Brian Friel’s Theater” calls it a “tragic and richly ‘enabling’ drama” (76).“Enabling” is actually a term she quotes from Stephen Rea, one of the founders of the Field Day Theater Company.In some of the richer parts, the performances range from the uninspired (Mr. Hughes is especially exciting; it's unfortunate that he now leaves '' Translations'' until April 25 to fulfill a film commitment.His rustic schoolmaster is no retread of his cuddly Irish patriarch in Hugh Leonard's '' Da.'' Wearing a motheaten frock coat and pants that seem to be woven of peat moss (designed by David Murin), he wanders dazedly about quoting the classics, stealing swigs from a flask and vainly trying to accommodate himself to the ''inevitabilities'' of his country's future. Hughes always turn his eyes sadly downward, as if he's surveying the defeated landscape of his own soul. Friel's follow-through fully matched his intentions here, there are far worse playwriting sins than leaving the audience hungry for more.'' Translations'' consists of a series of homely anecdotes in which the townsfolk, now attending the final sessions of their outmoded hedge school, realize that by losing their language, they are facing ''an eviction of sorts.'' As the boozy old schoolmaster (Barnard Hughes) explains in one of Mr.Friel's most moving lines, '' Civilizations can be imprisoned in a linguistic contour that doesn't match the language of fact.'' Not everyone sees the Anglicization of Ireland as a cause for alarm, however.


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