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Frank McGuinness©ó¤@¤E¤­¤T¦~¥X¥Í©ó·Rº¸ÄõªF¥§¤à¬Ù¡]County Donegal¡^³Ì¥_Ã䪺Inishowen¥b®q¤W¤@­Ó¥s°µBuncranaªº¤pÂí¡A¶ZÂ÷¥_·Rº¸ÄõªºÃä¬É¥u¦³¤Q¥|­^¨½¡A®a¸Ì«H©^¤Ñ¥D±Ð¡A¤÷¿Ë¬°ÄÑ¥]®v¤÷¡A¥À¿Ë¦b¦¨¦ç¼t¤u§@¡CMcGuinness©ó¤@¤E¤C¥|¦~¦b³£¬fªL¤j¾Ç¨ú±o­^°ê»y¨¥»P¤å¾Ç¾Ç¤h¾Ç¦ì¡A¤@¤E¤C¤»¦~¨ú±o³£¬fªL¤j¾Ç¤¤¥j¬ã¨s­õ¾ÇºÓ¤h¾Ç¦ì¡A¦bµoªíÀ¸¼@§@«~¤§¾l¡A´¿¥ý«á¦b³£¬fªL¤j¾Ç¡B¤Ìº¸´µ¯S¤j¾Ç¡]New University of Ulster, Coleraine¡^¡B¸t¬£»A§J¾Ç°|¡]St. Patrick's College, Maynooth¡^¥ô±Ð¡A¥Ø«e¾á¥ô³£¬fªL¤j¾Ç­^¤å¨t±Ð±Â¤Î¾n®Õ§@®a¡Aªñ¦~¨Ó°£¤F³Ð§@»P½Ķ¼Ú¬w¸g¨åÀ¸¼@§@«~¤§¥~¡A¤]¶}©lµoªí¸Ö§@¡B´²¤å¡B»Pµu½g¬G¨Æ¡C

 

McGuinness¦b¨D¾Ç´Á¶¡´¿°Ñ¥[¬fªL¤j¾ÇÀ¸¼@ªÀªººt¥X¡A¦ý¥L¯u¥¿ªºÀ¸¼@³Ð§@¥Í²P©l©ó¤@¤E¤K¹s¦~¡A·í¦~ªº¥L³B©ó¥¢·~ª¬ºA¡A¦³¤@¤Ñ¨ì³£¬fªLªº·R¤ñ¼@°|¡]Abbey Theatre¡^¬Ý¤F¼@§@®aBrian Frielªº§@«~Faith Healerºt¥X¤§«á¡A¥ß¨è¦V·Rº¸Äõ¤åÃÀ¨ó·|´£¥X§@®a¼ú§Uª÷ªº¥Ó½Ð­p¹º¡A¸Ó¨ó·|¤¶²Ð¥L°Ñ¥[¥¿¦b°ªº¸«Â¡]Galway¡^Á|¿ìªº¼@¥»¼g§@¤u§{¡C¼g§@¤u§{ªºÁ¿®v¥¿¬OPatrick Mason¡A¦bMasonªº«ü¾É¤U¡AMcGuinness§¹¦¨¤F¥L²Ä¤@³¡§@«~¡m¤u¼t¸Ìªº¤k«Ä­Ì¡]The Factory Girls¡^¡n¡A¤@¤E¤K¤G¦~ªì¦¸¦b³£¬fªLªº¤Õ³¶¼@°|¡]Peacock Theatre¡^¤Wºt®É¡A¾Éºt§Y¬O¥ÑMason¾á¥ô¡A¦¹«áMcGuinness¤j³¡¤ÀªºÀ¸¼@§@«~¡A¤]³£¬O¥ÑMason¾á¥ô¾Éºt¡C

 

McGuinnessªº¦¨¦W¤§§@¬O¤@¤E¤K¤­¦~¦b¤Õ³¶¼@°|­ººtªº¡m¬Ý¨º¨Ç«e©¹¯Á¿pªeªº¤Ìº¸´µ¯S¤l§Ì§L­Ì¡]Observe the Sons of Ulster Marching Toward the Somme¡^¡n¡CMcGuinness¥H¤@­Ó·Rº¸Äõ¤Hªº¨­¤À¡A·Q¹³¥_·Rº¸Äõ¤H¦b²Ä¤@¦¸¥@¬É¤j¾Ô¥[¤J­^­x¡A¦bªk°ê¾Ô³õ¤W¶Ë¤`ºG­«ªº¾D¹J¡A¤Þ°_·¥¤jªºÄ³½×¡AÀþ¶¡¦¨¬°°Q½×ªºµJÂI¡A¨Ã¥B³Q½á»P«n¥_©M¸Ñªº¶H¼x·N¸q¡A¬Æ¦Ü¨µ°j¨ì­^°êºt¥X¡CMcGuinness¨â¦~«áªº§@«~¡m­{¤Ó°ò¤H¡]Carthaginians¡^¡n¡A«h¥H·Rº¸Äõ¤Hªº¨¤«×¡AÀ˵ø¦b¼w·ç¡]Derry¡^µo¥Í¦å¦â¬P´Á¤éªº±O±þ¨Æ¥ó«á¡A¤Ñ¥D±Ð®{¤ß²z©Ò¨ü¨ìªº³Ð¶Ë©M¤£¦w¡C³o¨â³¡À¸¼@§@«~¤À§OÀ˵ø¤F·Rº¸Äõªø´Á¥H¨Ó³B©ó½Ä¬ðÃö«Yªº¨â­Ó±Ú¸s¡A¦]¦Ó³Q»{¬°¬OMcGuinnessÀ¸¼@§@«~¤¤ªº©n©f§@¡C

 

McGuinness¦­´ÁªºÀ¸¼@§@«~­·®æ¸û¬°¼g¹ê¡A¦h¨ã¦³¹ê»Ú¾ú¥v¤å¤Æ©Î¦a²z¦ì¸mªº«ü¯A¡A¤]±a¦³¸û¦h¬Fªv·N²[¡CMcGuinness¦b¤G¤Q¥@¬ö¥½ªºÀ¸¼@§@«~¡A¨Ò¦p¡mµL¶d¡]Innocence¡^¡n¡B¡mº¿ÄR©M²ú¯÷¡]Mary and Lizzie¡^¡n¡B¡mÄÑ¥]¤H¡]The Bread Man¡^¡n©Î¬O¡m³¾Ãþ§ÈÅ@©Ò¡]The Bird Sanctuary¡^¡n¡A«h¼W¥[¤F³\¦h¶W²{¹ê©M§á¦±¯u¹ê¤Hª«ªºÀ¸¼@¤âªk¡A¦³¸û¦hªº©Ç©_·Q¹³¡A°ß¦³´y­z¾¤¤Ú¹à®£©Æ¥÷¤l§T«ù¤H½è¨Æ¥óªº¡m·|¦³¤H¬ÝÅU§Ú¡]Someone Who Will Watch Over Me¡^¡n¡B¥H¤Î´y­z¤G¦¸¤j¾Ô®É¬£¾n·Rº¸Äõªº¬ü°ê¤j§L»P·Rº¸Äõ·í¦a¤H·P±¡¥æ¬yªº

 

¡m®ç²ú«Âµ·¯Sªº¼p©Ð¡]Dolly West's Kitchen¡^¡n¤´«O¯d¸ûª½±µªº¬Fªv«ü¯A¡C¾¨ºÞ³Ð§@­·®æ¦³¨ÇÂàÅÜ¡A¦ý©Î³\¬O¦]¬°McGuinness¥»¤H»P¨k©Ê±K¤ÍPhilip¦³¥b¤½¶}ªº¦P§ÓÃö«Y¡A¤k©ÊijÃD¡B¥H¤Î¨k¦P§Ó©Î¤k¦P§Óªº±¡¼¤¡A«oÁ`¬OMcGuinness¼@§@¤¤±q¤£¯Ê®uªº¤¸¯À¡CMcGuinness¦b¨â¤d¦~¤§«áªº§@«~¤S¦^Âk¼g¹ê¡A¦ý¤w¤£¬O¥H©¹¨ººØ°w¯¢¬Fªv²{¹êªº¼g¹ê¡A¤j³¡¤À¬OÂà¦Ó´y­z¿Ë±¡¡B·R±¡¡B¤Í±¡¡B«H¥ô©Î­I«qµ¥¤HÃþ¥Í¦sªº±¡·P©M°ò¥»»ù­È¡A½Ñ¦p¡mª÷¦â¤jªù¡]Gates of Gold¡^¡n©Î¬O¡m¦³¦N´¶ÁɤHÃM°¨¦Ó¨Ó¡]There Came A Gypsy Riding¡^¡nµ¥µ¥¡AÅã¥Ü¥XÀHµÛ·Rº¸Äõªñ¦~¨Ó¦b¬Fªv»P¸gÀÙ¤WªºÂàÅÜ¡A¤£¥u¬OMcGuinness³Ð§@ªº¤åÃþÂàÁͦh¤¸¡A¥L¼@§@©ÒÃö¤Áªº¥DÃD¤]¶}©l¦³©ÒÂàÅܤF¡C

 

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1982   The Factory Girls

1984   Borderlands

1985   Gatherers (unpublished)

Observe the Sons of Ulster Marching Toward the Somme

       Baglady/Ladybag

1986            Innocence

1987   Scout (television drama)

1988   Carthaginians

       Times in It (unpublished)

       Adaptation of Henrik Ibsen's Peer Gynt

       Direct Brian Friel's The Gentle Island

1989   Mary and Lizzie

1990   The Bread Man

       Adaptation of Anton Chekhov's Three Sisters

1991   Adaptation of Bertolt Brecht's The Threepenny Opera

1992   Someone Who Will Watch Over Me

1993   Adaptation of August Strindberg's The Stranger

1994   The Bird Sanctuary

       Booterstown (poetry)

       Adaptation of Henrik Ibsen's Hedda Gabbler

1996   Adaptation of Henrik Ibsen's A Doll's House

1997   Mutabilitie

       Adaptation of Bertolt Brecht's The Caucasian Chalk Circle

       Adaptation of Sophocles's Electra

1998   Screenplay for Brian Friel's Dancing at Lughnasa

1999   Dolly West's Kitchen

       The Sea with no Ships (poetry)

2000   Adaptation of August Strindberg's Miss Julie

2002   Gates of Gold

2003   The Stone Jug (poetry)

2006   Speaking Like Magpies

2007   There Came A Gypsy Riding

Isiah (short story)

 

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1. Irish history and politics

    Many of McGuinness's early works are set in a specific time and space, discussing historical events happening in Ireland or Europe. What is the signification of history and historicity in these plays? Does McGuinness convey his political Utopia for Ireland or even for the whole world in these plays? By analyzing McGuinness's representation of these historical events, can we get a clear picture of the playwright's political stance in the conflict between Catholics and Protestants?

 

2. memory and trauma

    Historical event depicting in McGuinness's plays are usually slaughtering disasters ¡V the two world wars, Bloody Sunday, Nazi, terrorists or captivity. Because of these disasters, many of McGuinness's characters are haunted by their memories of death. What is the significance of trauma in McGuinness's political plays? How do we interpret Irish history in the perspective of psycho analysis?

 

3. class and power

    Because of colonial background, different ethnicities in Ireland enjoy different social status and political power in different areas. The Catholic working class women/girls and Protestant supervisors in The Factory Girls, the soldiers and commanders in Observe the Sons, the two girls accompanying Karl and Marx in Mary and Lizzie and the captivity narrative of Someone identically suggest that class and power are associated obviously with Irish history and subtly with gender. What is the making of class and certain sanctioned privilege in Irish society? What is the significance of ethnicity and colonization in McGuinness's plays?

 

4. religion and artists

    Religion resides in the core of ethnic conflicts in Ireland. How does McGuinness represent religion in his plays? What is McGuinness's attitude toward Catholicism, if we further take into consideration McGuinness's homosexuality and his Catholic family background? As a contrast to religion, art seems to be a relief that the playwright resorts to. How does McGuinness present artists or characters with artistic sensibilities in his plays? Are they portrayed as outcast or secular? What is their interaction with religion in McGuinness's plays?

 

5. representation of Irish women

    McGuinness's initial portrait of Irish women is modeled after his mother, but as his plays come to be politicized, the representation of women in his plays is worthy of note. Ireland is often associated with a feminine image, and while dealing with political issues, female characters are usually the key of McGuinness's plays. How do female characters in McGuinness's plays reflect women's position in Irish society? What's the significance of femininity in the making of Irishness? What is women's role in the Irish nation and family? How does gender incorporated into Irish history, class, or politics?

 

6. gay and lesbian characters

    Homosexuality is a persistent issue in McGuinness's plays, sometimes implicit but most of the time explicit. How does McGuinness present his homosexual characters, sexual advances, and venereal diseases? What is Irish homosexual's role in colonized Ireland and post-colonial Ireland, realistically and metaphorically? Can his homosexual characters be politicized? How does homosexuality encounter Christianity in McGuinness's plays?

 

7. space

    The issue of space can be closely related with class and gender. When describing Irish families, how does McGuinness make use of domesticity? What is the contrast between private space and public space in McGuinness's political plays? Or what are the relationship and metaphorical significance between family, the domestic domain, and nation, the public domain?

 

8. influence from earlier Irish or European dramatists

    McGuinness majors in English literature in college. Once in a while he teaches history of English literature in universities. He admires Oscar Wild; in There Came A Gypsy Riding, he complains about Spencer's plays, and some lines in Carthaginians allude to Sean O'Casey's Juno and the Paycock. At the same time, he translates and adapts modern European plays, such as Ibson's and Brecht's works. Besides, he is also a friend to Brian Friel, writing the film script for Dancing at Lughnasa. How does this background influence McGuinness's themes or dramaturgy? Does McGuinness inherit something from his forerunners, or does he modify some of the traditions of Irish drama?

 

9. globalization

    After his success in Dublin, McGuinness's plays are revived in London; after American characters begin to show up in his plays (in Someone and Dolly West's Kitchen), McGuinness's plays even go on tour to the United States. What makes McGuinness's plays become globalized? Does McGuinness describe in his plays the changes that globalization brings to Ireland? How are capitalism and the power of commerce or trade presented in his plays?

 

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