Performing Violence in Contemporary Ireland Book

Acknowledgments ix

Introduction: Performing Violence in Contemporary Ireland Lisa Fitzpatrick 1

Part I The Spoken Word, Music, and Spectacle

Pity vs. Fear: Performing Violence in Aeschylus' Oresteia and Contemporary Irish Drama Danine Farquharson 9

The Force of Law in Seamus Heaney's Greek Translations Eugene O'Brien 31

Branding Irish Violence: The Spectacles of Rural and Urban "Ireland" Kyna Hamill 47

Fighting the Peace: Violence, Counter-Narrative, and the Work of Gary Mitchell Tim Miles 65

Respresenting Acceptability: Power, Violence and Satire in Martin McDonagh's The Lieutenant of Inishmore Catherine Rees 85

Speaking Violence in Conor McPherson's Rum and Vodka and The Good Thief Tom Maguire 105

"Stap Fightin": Accents of Violence in the Work of James Young Paul Moore 119

The Representation of Violence in Music: Ian Wilson's Hamelin Cormac Newark 131

Framing Reality: A Case Study in Prison Theatre in Northern Ireland David Grant 143

Part II Site, Social Space, and Place

Restaging Violence: H-Block as Abu Ghraib, Castlereagh as Camp X-Ray Paul Devlin 161

The Utopian Performative in Post-Ceasefire Northern Irish Theatre Lisa Fitzpatrick 175

Performance and Potentiality: Violence, Procession, and Space Jonathan Harden 189

Parading Memory: Producing Commemoration in the Irish Republic's Celebrations of 1916 Holly Maples 205

Performing Provisionalism: Republican Commemorative Practice as Political Performance Kris Brown Elisabetta Viggiani 225

Notes on Contributors 249

Index 253