'How does Friiel use language and stagecraft Essay\r'

'Friels briny resuscitate, writing in the 1980s, seems to be the clamber for individuation operator. One interpretation of the mold is that Irish individualism has been continually threatened since 1591. Friel writes his play in 1988 whilst living through Irish civil upheaval during the troubles of northern island. By setting making write up in 1951, friel is addressing time span and the difference for identity that he may feel began with the side/Irish power struggle. The book centres on Hugh O’Neil, who is the Earl of Tyrone and at the start of the play is 41 years old. He is described as a ‘ private, sharp disposed(p) man’, and he is a unplayful main character beca engage he is an interesting person who has a lot of conflict in his life.\r\nHugh O’Neil ever-changing his accent from English/Irish to Tyrone, is a good use of a languageas he always speaks in an upper-class English accent accept on the occasions specifically scripted. The Tyrone a ccent usually happens when he is angry about something. ‘ Just to show him I commencen’t reverted completely to type- would that be it’, Friel choosing to use this type of lanuguage shows that O’Neil is rebellious and is proud of his Irish identity.\r\nThe arguement between Mary and mabel in the garden shows how Mabels identity and alliegience has changed from English by Irish. This is shown when the two are discussing work and is asked about the orchards and says ‘No, WE havent’. This use of language shows she conisders herself part of the Irish identity. The use of gunpoint craft in this motion-picture show shoes the intensity of Mary and Mables conversation ‘ speaks with concern and passion’. This further highlights the conflict between the English and and Irish and the struggle for Mary to accept Mabels novel identity.\r\nMabel and the baby’s death is a signifficant level off in the play as it is a fiction for th e inabiliity of England and ireland being able to Co-exist peacefully, as the baby would have had twain enlgish and irish blood in him. The timeline from when the auditory modality is first inroduced to hugh and then at the oddment of the play is a signifficant contrast and change to his identity. The stagecraft used shows this as he is described as being ‘ vapourisable and bitter’ compared to the beginging of the play when he is described as ‘uncharacteristically outgoing and talkative’.\r\nFriel and lomabrd are both trying to create history, Friel with the play he wrote and lombard with his record of Hugh Oniels life. Lmbard tries to make Hugh appear to be a chock but this displeases hugh as he feels it is not his certain identity.’ i dont trust you. i dont trust you to itemise the truth’.\r\nEach part of the play highlilghts how brian friel has shown the struggle for identity through the use of language and stagecraft. The main use o f language that friel has used to convey identity through language is the description of the characters and how each has struggled with thier identity. Potraying the characters in this way is a clever metaphor for the struggles ireland itself has had to go through to keep its identity. The clever use of stage craft and lighting symbolises the struggles ireland have continually approach throughout history.\r\nThe way Friel describes hugh O’niel in posterior life, with his declining health and along with Mabel and the baby’s death, symbolises ireland loosing the struggle with england. The use of stage craft at the end of the play where it says ‘O’Neil is now crying. Bring mound lights slowly’. is an effective end to the play as it symbolises the end of the struggle between ireland and england.\r\n'