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Translations Reviews
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How Are Things in Baile Beag? Reflection on TRANSLATION Review by: Beth M., Nov 11, 2007 |
Reflection on TRANSLATION by Beth Mandelbaum. "MY NAME IS SARAH." These words, which may sound like such a simple affirmation, are words that the young student Sarah utters in the darkness, as if by using every ounce of strength and determination of body and soul. Sarah, whom the villagers of Baile Beag in County Donegal have long believed to be mute, has been encouraged to say her name by the school teacher Manus, the son of the usually ... read more drunken School Master Hugh.
This is how Brian Friel's wildly intense and beautifully written play begins. To some this may seem like a very powerful, but isolated incident, in and of itself. But these words seemed to echo outward and pervade the entire space. It felt to me as though something of deep significance and import had just occurred. To me, this opening scene is extremely telling for what is to come.
A while passes by before Hugh arrives at this village school house, announcing that he is late because he has just come from the baptism and christening of the child of a villager. The identity of the father of this child has been the topic of humorous speculation on the part of some of the students. Hugh does share the surname of the baby, and a few gossipers giggle. However, a few moments later, Maire, a beautiful dark haired student who will become one of the key protagonists of the play, quietly says: "The ritual of naming."
What I find so very striking is that what might seem as a passing bit of dialogue with no real import appears to me to share deep significance with Sarah's words at the play's opening. Both involve the act of "naming." And the naming of children has long been a major tradition throughout history and in all cultures, creating a sense of identity and place in one's world, without which one may feel lost. To me these two linked incidents seem to serve as precursor for what will occur later in the play, when identity is destroyed.
I imagine that everyone who reads this is aware that the historical, cultural and emotional context for this play involves the creation of the 1st map of Ireland, by the British military "visitors," with the help of Hugh's younger son Owen (known to the British soldiers by the Anglicized name Rowan) who serves as the translator for the British.
Their mission is the translation and re-naming of all Gaelic names of towns, streets and places into Anglicized versions, a powerful and unmistakable affirmation of the British domination and Colonialism which began well over one hundred years before. In this play, the act of re mapping and re-naming is a harbinger of the erosion of Gaelic culture and identity which leads to loss, disorientation, and, ultimately, tragedy.
Every once in a while, my mind went back to the previous Wednesday's matinee, The Apple Tree, in which Adam is instructed by the "Voice of God" to create names for what he sees, done in a very comedic manner. I decided to check my Oxford Annotated Bible, just for fun. And there it is, in Genesis 2:19: "So out of the ground the Lord God formed every beast of the field and every bird of the air, and brought them to the man to see what he would call them: and whatever the man called every living creature, that was it's name."
And while please believe me when I say that while that I am very far from a "Fundamentalist," it does strike me that this naming process in the Old Testament might be perceived as a "symbolic" expression of the importance of one of the very first acts of mankind, a process that has survived through the ages.
As I continued to reflect on Translations while sitting in the food court on 42nd Street, I suddenly noticed from the window the Hilton Theater, formerly The Ford Center for the Performing Arts, across the street. I thought back to the many articles and posts in past years about how the "corporatization" of the face of Broadway as a result of the re-naming of some of its theaters had to some extent eroded the spi |
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Alone
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Should be seen more than once to get more philosophical comprehension Review by: evichka, Mar 4, 2007 |
A dense, meaningful, beautifully acted piece of theatre. American and Irish actors blend well in this Irish story of the inportance of language. When the culture of an occupied land is ignored and underestimated, there are dire consequences that may result in violence and misery for generations to come. This play shows the start of the problem of the 'Irish question' and presents it in a very human form. The ending, which is really not a ... read more conclusion, may disturb some, but it is most fitting.
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My recommendation:
Make an effort to see
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I saw this show with:
Spouse/Partner
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Fine Irish drama in a serious vein Review by: StagestruckNYC, Jan 18, 2007 |
| This is a great cast and fine direction of this serious Irish drama set in 1833 in Brian Friel's fictional village of Ballybeg. The act is splendid, but this is not the right play for anyone looking for an easy evening of laughs. In fact, it is hard work (but worth the effort) to keep up with the dialogue and catch all of the allusions to greek and latin literature and to Irish history. This play contains lots ... read more of imagery and symbolism about language and communication (or mis-communication). The MTC would do well to add some program notes explaining the historical chronology and significance of events referred to in the play. |
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My recommendation:
Make an effort to see
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I saw this show with:
Spouse/Partner
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Recommended for:
Adults
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| * Review is an opinion of a BroadwayBox user and not that of BroadwayBox.com and BroadwayBox, Inc. |
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