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| Titre : | For all the outcasts of this world : Song and Dance in Brendan Behan's An Giall and The Hostage (2014) |
| Auteurs : | Maureen S.G HAWKINS, Auteur |
| Type de document : | Article |
| Dans : | Irish University Review (Vol 44 n 1 Spring/Summer 2014) |
| Article en page(s) : | p. 116-128 |
| Langues: | Anglais |
| Mots-clés : | |
| Résumé : | In Brendan Behan's "An Giall" and "The Hostage", song and dance establish atmosphere and character, comment ironically on the action, relate the characters to one another in a union of society's outcasts, and valorize life, love, healthy and open sexuality, and mutual comfort over the rules and regulations (and those who live by them) of a repressive, hypocritical, moribund, even murderous society. Thus, they provide a thematic structural underpinning, supporting and, at the same time, commenting on the essential unity of the plays' actions as they guide the audience's response to their themes. In "An Giall", the counterpoise of religion, destructive nationalism, and life-celebrating songs and dances subtly establishes and develops its central theme: the doomed struggle of youth, love, and joy to survive in a death-oriented society. In "The Hostage", the increased reliance on song and dance to convey more diverse and subtle political concerns leads to greater complexity in their use. Not only do they establish atmosphere, theme, and character; link and divide characters; undercut sentimentality and hypocrisy; satirise society; and celebrate love, sexuality, youth, and fun; but, in doing so, they provide a unity of purpose and theme for the play which replaces the more traditional unity of action. |
| Pays de publication : | Grande-Bretagne (Royaume Uni) |
| Lieu de publication : | Edimbourg |
| Fonds : | Médiathèque |
