Field Day Theatre Company
The Field Day Theatre Company began as an artistic collaboration between playwright Brian Friel and actor Stephen Rea. In 1980, the duo set out to launch a production of Friel's recently completed play, Translations. They decided to rehearse and premiere the play in Derry with the hope of establishing a major theatre company for Northern Ireland. The production and performance of Translations generated a level of excitement and anticipation that unified, if only for a short time, the various factions of a divided community.
Although Field Day has never put forth a formal mission statement, their intention was to create a space, a 'fifth province,' that transcended the crippling oppositions of Irish politics. The term 'fifth province' — Ireland consists of four provinces — was coined by the editors of an Irish Journal, The Crane Bag, to name an imaginary cultural space from which a new discourse of unity might emerge. In addition to being an enormous popular and critical success, Field Day's first production created just such a space. After the production of Translations, Seamus Heaney, Ireland's most prominent poet, recognized the importance of what they had accomplished and urged Brian Friel to continue with the project: "this was what theatre was supposed to do" (cited in Richtarik, 65).
That the company was established in Derry, Northern Ireland's "second city," is significant. Although Friel knew the city well (he had lived there until 1967), Derry, being close to the border, is a hot-spot in the north-south tensions known as "The Troubles". Furthermore, its western location and its relationship to Belfast, Northern Ireland's east coast capital, underline a second historically older division in Ireland — the division between the cosmopolitan east and the rural, romantic west.
Read more about Field Day Theatre Company: More Than Theatre, Bibliography
Famous quotes containing the words field, day, theatre and/or company:
“The woman ... turned her melancholy tone into a scolding one. She was not very young, and the wrinkles in her face were filled with drops of water which had fallen from her eyes, which, with the yellowness of her complexion, made a figure not unlike a field in the decline of the year, when the harvest is gathered in and a smart shower of rain has filled the furrows with water. Her voice was so shrill that they all jumped into the coach as fast as they could and drove from the door.”
—Sarah Fielding (1710–1768)
“I shun father and mother and wife and brother when my genius calls me. I would write on the lintels of the door-post, Whim. I hope that it is somewhat better than whim at last, but we cannot spend the day in explanation.”
—Ralph Waldo Emerson (1803–1882)
“Mankind’s common instinct for reality ... has always held the world to be essentially a theatre for heroism. In heroism, we feel, life’s supreme mystery is hidden. We tolerate no one who has no capacity whatever for it in any direction. On the other hand, no matter what a man’s frailties otherwise may be, if he be willing to risk death, and still more if he suffer it heroically, in the service he has chosen, the fact consecrates him forever.”
—William James (1842–1910)
“The old idea that the joke was not good enough for the company has been superseded by the new aristocratic idea that the company was not worthy of the joke. They have introduced an almost insane individualism into that one form of intercourse which is specially and uproariously communal. They have made even levities into secrets. They have made laughter lonelier than tears.”
—Gilbert Keith Chesterton (1874–1936)