Scenes 9, 7, 8 & 9
Scene six
The meeting between Padraic and Mairead is fraught with undercurrents of sexual longing and the glorifying of violence and terrorism. The use and misuse of the Irish Ballad The Patriot Game is poignant and horrific, as the song was not written for modern day terrorist activities and this lack of understanding about history is again picked up when Padraic misses the point about eh Guildford Fours imprisonment and remarks 'Ah feck the Guildford four. Even if they didn't do it, they should;ve took the blame and been rpoud. But no, they did nothing but whine'.
Activity
Using the song at the beginning of the clip above, discuss:
- how Mairead's beautiful lyrical voice juxtaposes with the uncomfortable truth about mindless terrorism
- why the ballad has been introduced at this moment and in this way?
- what an audience's reaction might be to the sentimentality yet underlying barbarism of this scene?
- why has McDonagh created characters that misuse Irish history?
Scene seven
This is a continuation and extension of scene three; it has grown in its absurdity as by this time the two stooge characters are roaring drunk whilst continuing to try and boot polishes the live ginger cat black. It is a farcical situation with both character's passing out at the end of the scene hoping they are ready for the events of the next day.
Activity
- In pairs, explore the language, tactics and status of this scene through slapstick comedy routines.
- Present your improvised workshops to your peers for critique and discussion.
Scenes eight and nine
These scenes should be explored in detail as these are the climax of the play and relate directly to the interconnected forms of Jacobean comedies/Revenge theatre, which accepted loss of human life as part of the theatrical occasion and the 1990's In-yer-face Theatre that is characterised by abuse and violence as well as by un-ideological characters.
The action in these scenes could make an audience feel very uncomfortable, as well laugh uproariously at the shocking and unbelievable visual and visceral violence. This type of violence must surely be condemned by an audience, but it has a perception of authenticity, and this makes it shockingly funny. The notion of comedy and cruelty runs right through both these scenes. The end of the play re-affirming the audience's perception that Padraic's is a 'Lieutenant of terrorism' and in a twist of dramatic action Mairead, who has demonstrated the same stunted, violent personality, seamlessly kills Padraic (for killing her cat) and assumes the 'Lieutenantship of terrorism' for herself.
Activity
Workshop
- In groups of 6 to 8, students' workshop segments of these scenes. Take turns in the role of Director.
- Discuss the different directorial interpretations of each scene.
Costumes made into body parts could be used in the workshop and, if appropriate, fake blood. In the Broadway version six gallons of fake blood (made fomr a mixture of peanut butter, chocolate syrup, and corn syrup were used at each performance (Wikipedia, 2008) and some school's may be able to make up this type of fake blood. Again, the visual elements of this play must be explored and experimented with.
Logbook questions
- What was the directorial vision for the segment of the scene? How did this contrast to other groups' interpretations?
- How did you approach your acting role to maintain your character's belief in his/her barbaric acts?
- How do you think an audience would re-act to these scenes? Is there any sense of justice in them? Would they have a cathartic experience?
- These scenes are the culmination of the so-called political violence; Is McDonagh just creating sensationalism on the stage floor or is there a depth of complexity to these laughable and barbaric acts?
- How do the dramatic elements of Jacobean comedies/Revenge theatre translate to a 21st century performance?
- Do you think Aleks Sierz is correct in calling this play's dramatic form In-Yer-Face theatre?
- The play is written mainly within a structural classicism style where the unities of time, place and action are adhered to. How has this helped create the black comedy on the stage floor?
Structural Classicism
- In groups, create a graft which demonstrates how the unities of time, place and action are adhered to in the play.
- Why do you think this style was used by the playwright?