Therefore, starting from the assumption that the public dimension of staging allows a play to be re-interpreted and to acquire a different social relevance according to the receiving society, I will focus on the a priori choices made by Genoa production which reflect a creative reading of the dramatic text, and I consider the extent to which these choices may orientate the reception. My experience as a member of the audience of the Italian production led me to approach the play as a case study of the theoretical configurations of text, context and performance, especially after my realization that the reactions The Lieutenant of Inishmore had provoked in the audiences who had experienced the Royal Shakespeare Company’s production in London were completely different. Irish critics have expressed great concern about the exportation of Martin Mcdonagh’s play, whose main themes are deliberately quite controversial. The paper provides an analysis of the production and reception of Il Tenente di Inishmore by Lo Stabile di Genova. Finally, I will focus on the performance and analyse the artistic direction’s choices (space, sounds, music, lights, direction of actors and actresses, sets) and the reception of the public.ĭebora Biancheri, University of Pisa &Centre for Irish Studies, NUI Galway – exportation to Italy: the blurred line between laughter and tragedy in The Lieutenant of Inishmore Indeed, the actors and actresses all had elocution and comprehension problems, which were partly due to the language used.
Secondly, I will discuss the rich and creative language of Sean O’Casey and the arduous task of translating him. First, I will argue that although social and cultural differences made it difficult for actors, actresses and the stage director to understand fully the plot and the historical background of the play, they could also be an asset. Based on personal experience and interviews of the director, actors and actresses and members of the audience, this paper will examine different aspects of this collective creation and experience.
#PAUL CAUSEY ERCOM PROFESSIONAL#
More recently, in June 2007 the amateur group Les Chantiers de l’Horizon of the theatre Théâtre Toujours à l’Horizon in La Rochelle played it under the direction of the professional director Claudie Landy. However, a semi-professional Breton theatre group Strollad ar Vro Bagan translated it into Breton and played it in Britanny in 1992-93. The play was created in 1963 in France by Jean Dasté, director of the ‘Compagnie de St Etienne’ (CDN) but in general, the play has a reputation for being difficult and ‘too Irish’ to attract French audiences, and therefore stage directors have stayed away from it.
In 1960 The Plough and the Stars was translated into French by Robert Soulat and published in France by the publishing house ‘L’Arche’. Sean O’Casey was played regularly in France in the CDN (Centres dramatiques nationaux) in the 1950’s and 1960’s (about 20 stage directions). University College Dublin, Blackrock Campus, Carysfort Avenue | 4-5 April, 2008īrigitte Bastiat, University of La Rochelle -Irish Studies Research Group at the University of Rennes 2 (CEI: Centre d’études irlandaises)- Plough and the Stars by Sean O’Casey: A Collective Experience led in 2007 by the Amateur Theatre Group ‘Les Chantiers’ of the ‘Théâtre Toujours à l’Horizon’, La Rochelle, France.