資料彙整   /   作家  /  Martin  McDonagh  馬丁.麥克唐納
Martin  McDonagh
馬丁.麥克唐納
圖片來源:http://broadwayworld.com/article/Photo_Coverage_Arrivals_at_The_Lieutenant_of_Inishmore
主要文類:Drama
資料提供者:王芮思
關鍵字詞:

未命名 4

Martin McDonagh

作品

 

 

Martin McDonagh

O'Toole, Fintan. Introduction. Martin McDonagh Plays: 1. London: Methuen, 1999.

ix-xvii. Print.

 

Martin McDonagh, the son of a Sligo mother and a Galway father, grew up in this kind of London. He had Irish aunts and uncles all around. His family lived on a block in Elephant and Castle where half the houses were occupied by Irish families. It was a similar story when they moved down the road to Camberwell. He spent his summer holidays in Easkey, County Sligo and in Connemara, the western region of County Galway. He became a choir boy in the Catholic parish church and grew up steeped in the emotive stories of Irish nationalism. Later, his parents moved back to Lettermullan in Connemara, and although he and his older brother stayed behind in London, they continued to spend their summers in Ireland. He was, and is, a citizen of an indefinite land that is neither Ireland nor England, but that shares borders with.

He is, too, part of a generation that has completely redefined the term ‘Anglo-Irish'. It used to mean, in Brendan Behan's scabrous definition, ‘a Protestant on a horse', a member of the old Irish ascendency with deep cultural and political affinities for England. Much of twentieth-century Irish theatre—Yeats, John Synge, Augusta Gregory, Denis Johnston—is rooted, however uncomfortably, in that tradition. Now, though, Anglo-Irish has come to mean anew kind of fusion that arises, not from ascendency but from exile. The children of Irish emigrants, growing up with all the accents and attitudes of urban England are finding or making their own connections with Irish culture. In music, the songwriter and singer Shane McGowan is the obvious example. In sport, it is Jack Charlton's Irish soccer team of the late 1980s and early 1990s. In the theatre now it is Martin McDonagh.

For him, there was none of the exile's longing, none of the proper nostalgic clutch of the ould sod. There was no ‘Irish community', just people who happened to be around the place. The childhood influences of Catholicism and nationalism wore off. An yet, there was, for him, a crucial Ireland. It was not a pace or a faith or a community or even a family. It was not even, as you might expect from a young writer, a literary or theatrical culture: Synge or Yeats, Joyce or Beckett, though Synge's The Playboy of the Western World is certainly a presence behind A Skull in Connemara and the same play's title is from a line in Beckett's Waiting for Godot. It was just a voice in the head, a way of talking. ( ix- x)

 

TOP

 

作品

 

The Beauty Queen of Leenane

 

Castleberry, Marion. “Comedy and Violence in The Beauty Queen of Leenane.”

Martin McDonagh: A Casebook. Ed. Richard Ranking Russell. London: Routledge, 2007. 41-59. Print.

 

First performed by the Druid Theatre Company at the Town Hall Theatre Galway on February 1, 1996, The Beauty Queen of Leenane premiered when McDonagh was only twenty-five years old. The production, directed by Garry Hynes, garnered the playwright three major London Awards—the George Devine Award for Promising Newcomer, the Writer's Guild for Best Fringe Play, and the Evening Standard Award for Most Promising Playwright. The play also received several Broadway and off-Broadway awards: an Obie Award for sustained excellence of performance, a Drama League Award for Bet Production of a Play, a Lortel Award for Outstanding Play and Direction, and Outer Critics Award for Best Broadway Paly, and four Tony Awards for excellence in acting.

McDonagh claims to have written the play in just eight days, an assertion supported by the fast-paced dialogue and simple narrative of the work. Ostensibly, The Beauty of Leenane is an old-fashioned melodrama, depicting a classic tumultuous mother/daughter relationship. Mag Folan and her daughter, Maureen, live in a small, dreary village in Connemara, western Ireland. The aging Mag is childishly selfish, demanding, and manipulative. Maureen, a frustrated forty-year-old virgin who cares for her mother, is mentally fragile and emotionally trapped. At a neighbor's party, Maureen renews her acquaintance with Pato, an Irish immigrant her own age who works in England. The meeting leads to a mutual attraction and an unconsummated one-night stand. Mag attempts to destroy the budding relationship. Pato returns to England but writes to Maureen, asking her to go to America with him. Mag intercepts and burns the letter, but when Maureen later taunts her mother with the sexual affair that never happened, Mag inadvertently reveals her knowledge of the truth about Maureen and Pato's relationship. As revenge for her mother's deception, Maureen tortures Mag by scalding her with boiling oil. Mag confesses to burning the letter and reveals its contents, which precipitates Maureen's murder of her mother and her apparent descent into madness. (42)

 

TOP

Copyright ©2009 國科會人文學中心 All Rights Reserved.