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Stewart Parker Award George Devine Award Pig and Runt are two year-olds who share everything: birthday, language, worldview - and that moment when pop songs and life-changing orgasms flash by and last forever. Customer Reviews. Write a review. See any care plans, options and policies that may be associated with this product. Email address. Please enter a valid email address. Walmart Services. Get to Know Us. Customer Service. In The Spotlight. Shop Our Brands. All Rights Reserved.

Cancel Submit. When Friel wrote the play in the late seventies, it was perceived not only as a play engaging in the writing or rewriting of an important phase in Irish history.


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In the year of its first production in , its concern with nationality was immediately read in the context of contemporary Northern Irish politics. Too much so, with the result that the qualities of the play as a play were shifted into the background and political commentary replaced drama criticism to a large extent. With appropriate critical and temporal distance, Christopher Murray praises "the device of having two languages on stage although only one English is spoken" as it "brilliantly exposes two areas of experience, two cultures" Murray Hugh is sceptical about the possibilities of communication between cultures in the first place: "I will provide you with the available words and the available grammar.

But will that help you to interpret between privacies? In the play, Dan O'Connell and Maire both assume that the use of English will help them to progress towards their respective national and personal dreams. But even though Maire may be seen as a representative of the young and modern Ireland who no longer allows herself to be hindered by the weight of myth and tradition, it must also be mentioned that Maire's desire to speak English shall soon be enforced by law throughout the National Schools in Ireland. One of Friel's major intellectual inputs, in some instances even sources, for the play was George Steiner's After Babel , in which Steiner not only stresses the virtual impossibility of intercultural understanding but also reflects upon the possibility of the alienation of a nation's language from a historical situation.

Both concerns are echoed in Friel's play.

When the romantic Yolland, who is in love with Maire, expresses his desire to learn Irish, Hugh reminds him "that a civilisation can be imprisoned in a linguistic contour which no longer matches the landscape of This may be true even in the case of Irish: "A rich language. A rich literature. Friel's version of Steiner, Translations , is first and foremost about the conflict between Ireland and England, exemplified through the conflict between the Irish and the English languages in a political and historical context.

As a result of its monolingual form, it "translates what is by the play's own terms untranslatable; its supple and eloquent English speaks the lost and hidden language of Irish" Grene It can and has frequently been read as a text in which the empire writes back, an Irish playwright using the English language to commemorate the Irish culture of which the English colonists have deprived him.

But there is also a counter-voice, a less self-assured voice, to that dominant discourse, which is expressed by Hugh in the last scene of the play. Here he reflects upon the advantages and disadvantages of clinging to tradition in the face of change. It is "images of the past embodied in language", not the facts as such, which shape us, he insists, and goes on to explain that "we must never cease renewing those images" Friel unless we want to risk to fossilize.

We must make them our new home. According to George Steiner, there is a strong element of interpretation and translation involved in all communication, not only between languages but also within one native language. This is not just a change of theme, I think. More than that, it points to the fact that the ideas and commonplace aspects associated with Ireland in parts of the population only twenty years ago have given way to something else, something not easily definable. One of the major differences seems to be a fundamental change in the perception of contemporary society and, following that, a changed sense of what politics is all about, how it affects the individual, and how the individual can make a difference or not.

This change is comparable to theatre developments in England, where the state-of-the-nation play in the nineties — often epic in scope, political in subject matter, spanning decades — has been replaced by a brutal, direct and often provocative new realism. Irish writers such as Walsh have created their own versions of "In-yer-face"-Theatre, a term coined by critic Aleks Sierz It implies the invasion of personal space by being forced to see, hear or experience something close up, and the theatre which is labelled thus tries to put audiences in such a situation.

As opposed to twenty years ago, any kind of imaginary unity no longer seems to be possible, even ex negativo. The frightening but also perversely comforting image of the English is no longer there, an image of the powerful, self-assured Englishmen naively convinced of their superiority. While it was relatively easy to define an Irish identity against that image, now the rift, at least on stage, runs right through Irish society.

With Pig and Runt, the main protagonists of Disco Pigs , Walsh has created a strong image of isolation within, an isolation not of choice but one of fate. Pig and Runt, two year old inhabitants of Pork Sitty Cork City , have almost completely isolated themselves from the rest of society by engaging in highly asocial behaviour and by speaking an artificial language which only the two of them fully understand.

Disco Pigs and Sucking Dublin by Enda Walsh

Always together and always on the look-out for alcohol and the next victim, their symbiotic relationship has grown more and more hermetic with an increasing number of mutually committed crimes. This set-up does not allow for social criticism on the part of the characters, criticism of a society which turns human beings into monads. Quite the opposite: Pig and Runt are radicals not due to any kind of opposition but by pushing to an extreme the mechanisms of isolation at work in the modern world.

Enda Walsh demonstrates how the communicative character of language may turn into its opposite and only serve to increase the sense of isolation.

Disco Pigs & Sucking Dublin (NHB Modern Plays)

The play starts with the birth of Darren and Sinead, who simultaneously "bounce inta a whirl of grey happiness" Walsh 6. One day playing animals on a farm they turn themselves into Pig and Runt, and from that moment onwards they act out their self-chosen roles. Most of the action takes place on their 17 th birthday. They do what they always do, drift from one night-club to the next, get drunk and play their favourite "game".

Runt chats somebody up and then pretends to be molested by him. Pig interferes and beats the apparent intruder up. Later on, as a birthday present, Pig takes Runt to the sea, "da big blue", "da colour of love". In this rather romantic moment, if this is a suitable term for that kind of drama at all, Runt experiences the beauty of nature for the first time and is so overwhelmed that she, probably for the first time, has doubts about how she leads her life.

I wan ta tide to make me outa me an give me someone different. Later on in the same night, they come across the Palace Disco, a posh and expensive night club which is their own personal utopia. They never dreamed of getting in at all, but the trip to the sea, the big blue, helps them, as the password "blue" is the answer to the question: what's the colour of love. Seller Inventory GOR The book has been read but remains in clean condition. All pages are intact and the cover is intact. Some minor wear to the spine. From: medimops Berlin, Germany.

Seller Inventory MG. Schutzumschlag mit wenigen Gebrauchsspuren an Einband, Schutzumschlag oder Seiten. Seller Inventory MV. Condition: UsedAcceptable. Condition: Used: Good. Seller Inventory M Published by Nick Hern Books, U. Some shelf wear to the covers. The dialogue flows clearly. Enjoy this presentable acting script useful for performance. Never used!. Great condition with minimal wear, aging, or shelf wear. Seller Inventory P Seller Inventory ING Condition: Like New. Almost new condition.

Ships with Tracking Number! May not contain Access Codes or Supplements. May be ex-library.

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Buy with confidence, excellent customer service!. Seller Inventory q. Satisfaction Guaranteed! Book is in Used-Good condition. Pages and cover are clean and intact.

The Irish Times Irish Theatre Awards 2017: the nominations

Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain limited notes and highlighting. Seller Inventory n.

Come to the Show - Disco Pigs & Sucking Dublin

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