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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2001.4
- 수록면
- 219 - 242 (24page)
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In The Freedom of the City, Friel re-writes Irish history in order to voice the suffering and frustration of the Northern Irish Catholics. He especially focuses upon the Catholic residence Bogside ghetto march and riot and its consequence that took place on January 30th, 1972 in Derry, Northern Ireland. Although the poor Catholics were unarmed, the British Parachuters shot thirteen people to death and wounded eighteen people including one woman. It was a shattering experience for the Catholics. But the British covered up the whole incident and freed those who shot arguing that it was self-defence. "The law is indeed above reproach."
While drawing upon this special event in Irish history, Friel frames The Freedom of the City in the year of 1970 instead of 1972. Also, he starts the play with the three dead bodies Lily, Skinner, and Michael laid upon the stage. This way, Friel freely uses his imaginative power in order to fictionalize the history and re-write it in the context of the actual historical event. Friel does this because he wants the audience to sympathize with these Irish people who have gone through persecution, injustice, suffering, frustration, and death.
In order to demonstrate the diametrically opposed worlds of Irish Catholics and British established protestants, Friel uses a theatrical technique, i.e. he juxtaposes one world after another on the stage. Lily, Skinner, Michael suffer from tear gas and rubber bullets which were thrown out at the civil marchers. Away from them, they unintentionally escape into the Guildhall, the building symbolic of British imperialism. In the Guildhall, Lily and Skinner see through each others' needs and communicate. They share human sympathy through witty words, humor, and understanding. Another established group of people judge, Irish announcer, Dodds(American sociologist), Brigadier, police-comment, question, and report without showing any sympathy for the Catholics; and their insensitivity and cruel violence are continuously manifested. This theatrical technique clarifies the ever widening gap between the two disparate worlds.
Friel finishes the play with Lily, Skinner, and Michael standing with their hands above their heads, staring out. This tableau is a shattering image when we remember their dead bodies at the beginning of the play. By showing them still alive he does not bring the play into a cycle; he provides us with a hope of their survival. And even after the play ended, the audience will remember the three people's humane quality and the British insensitive cruelty. Thus, in The Freedom of the City, by re-writing history, Friel appeals to us for the shared concern for the Northern Irish Catholics. And we are bound to sympathize with the Northern Irish Catholics Lily, Skinner, Michael; this is what Friel aims at.
While drawing upon this special event in Irish history, Friel frames The Freedom of the City in the year of 1970 instead of 1972. Also, he starts the play with the three dead bodies Lily, Skinner, and Michael laid upon the stage. This way, Friel freely uses his imaginative power in order to fictionalize the history and re-write it in the context of the actual historical event. Friel does this because he wants the audience to sympathize with these Irish people who have gone through persecution, injustice, suffering, frustration, and death.
In order to demonstrate the diametrically opposed worlds of Irish Catholics and British established protestants, Friel uses a theatrical technique, i.e. he juxtaposes one world after another on the stage. Lily, Skinner, Michael suffer from tear gas and rubber bullets which were thrown out at the civil marchers. Away from them, they unintentionally escape into the Guildhall, the building symbolic of British imperialism. In the Guildhall, Lily and Skinner see through each others' needs and communicate. They share human sympathy through witty words, humor, and understanding. Another established group of people judge, Irish announcer, Dodds(American sociologist), Brigadier, police-comment, question, and report without showing any sympathy for the Catholics; and their insensitivity and cruel violence are continuously manifested. This theatrical technique clarifies the ever widening gap between the two disparate worlds.
Friel finishes the play with Lily, Skinner, and Michael standing with their hands above their heads, staring out. This tableau is a shattering image when we remember their dead bodies at the beginning of the play. By showing them still alive he does not bring the play into a cycle; he provides us with a hope of their survival. And even after the play ended, the audience will remember the three people's humane quality and the British insensitive cruelty. Thus, in The Freedom of the City, by re-writing history, Friel appeals to us for the shared concern for the Northern Irish Catholics. And we are bound to sympathize with the Northern Irish Catholics Lily, Skinner, Michael; this is what Friel aims at.
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