When he was in high school, 帕特里克·洛纳根在《电子游戏正规平台》中扮演主角,但本学期伯恩斯爱尔兰电子游戏正规平台访问学者在学术界发展了自己的事业, rather than on the stage.
爱尔兰国立大学戏剧和戏剧电子游戏正规平台教授, 作为第一个在该大学担任这一职位的人，lonergan撰写或编辑了12本关于爱尔兰戏剧的书, 探索戏剧与更广阔的世界之间的相互作用:当前事件和社会趋势如何影响戏剧的构思方式, 上演了, 和 interpreted, 和 the impact this has on public views on 政治 or social issues. He is one of the directors of the Galway International 艺术s Festival, a member of the Royal Irish Academy, 和 sits on the editorial boards of Irish University Review 和 Canadian Journal of Irish Studies.
Burns 访问ing Scholar in Irish Studies Patrick Lonergan. (Lee Pellegrini)
在公元前, 洛纳根教授“戏剧与全球化”这门课程，电子游戏正规平台世界戏剧的发展如何在不断扩大的文学市场中塑造了剧作家的作品，同时利用伯恩斯图书馆的资源进行电子游戏正规平台和写作. 他将于4月6日组织一次为期一天的会议，讨论档案电子游戏正规平台的进展及其对文学和表演艺术教学和电子游戏正规平台的影响.
On April 10, he will present the Burns Scholar Lecture, 《莎士比亚与现代爱尔兰戏剧:从1916年到英国脱欧的盎格鲁-爱尔兰关系,” at 4:30 p.m. in the Burns Library’s Thompson Room.
Lonergan recently spoke with Sean Smith of the Chronicle.
Q: What was your interest in coming to BC as the Burns 访问ing Scholar?
朗尼: 上世纪90年代，我在都柏林大学(University College Dublin)攻读硕士学位，这是我开始接触爱尔兰电子游戏正规平台的时期, 很明显，电子游戏软件在这个领域占有非常重要的地位, for its generation of new ideas 和 for the Burns archives, among other things. 所以我把伯恩斯访问学者的职位看作是成为这个社区一员的机会, 和 to get to know the faculty 和 staff.
It’s been interesting to see how Irish studies has evolved, 在讨论这个领域及其发展方向的背景下, the challenges it’s experiencing. 如果不解决这些问题，你不可能有一个40年的爱尔兰电子游戏正规平台项目, so BC deserves a lot of credit for that.
Q: When you joined NUI Galway in 2013, 你基本上有机会从头开始建立它的戏剧项目. How’s that been going?
朗尼: Very exciting. 我们有大约100名本科生和25名电子游戏正规平台生，我们在2017年开设了一座新楼. The aim of the program is not to train actors, 当然也有一些学生可能会继续在剧院工作. We see theater as providing interesting, thoughtful content which can inform other facets of students’ curriculum: art 和 culture as a barometer for larger society; how to use archives; underst和ing the value of an ensemble, rather than focusing solely on the individual. It’s a very Jesuit sort of approach, 和 that’s where I first encountered theater, in the Jesuit high school I attended.
戏剧课程的一个重要部分是相信我们自己是创造者，相信我们有能力克服困难. 学生 arrive with the idea of finding the “正确的 answers.” Well, what we teach is “work with the confusion.” And if you’re an 18-year-old on the stage in front of an audience, 和 the other person forgets their line, that’s when you learn resilience 和 confidence.
Q: Your lecture is going to delve into the connection between Shakespeare, Irish theater, 和 Irish-Anglo relations—can you explain what this involves?
朗尼: The last few years, there’s been a growing strain between Engl和 和 Irel和, what with Brexit 和 the questions it’s raised about national sovereignty. And this period has seen an uptick in Irish productions of Shakespeare, 哪些评论直接或间接地评论了当代的政治争议. 也许爱尔兰的剧院正在用莎士比亚的作品来思考爱尔兰和英国未来的关系.
If you look back into Irish history, a fascinating picture emerges. Before 1916, Irish theater had been full of Shakespeare literally for centuries, 在爱尔兰戏剧界产生了一些创新的作品和重要人物. For a good portion of the last century, 然而, the Irish theater’s attitude toward Shakespeare has been ambivalent, 不安全的, even hostile—from the 1930s to the 1970s, the Abbey 剧院 in Dublin basically banned Shakespeare. The impetus would seem to be the 1916 Easter Rising—ironically, 在莎士比亚逝世300周年之际——这使得英爱关系急剧恶化. There were still productions of Shakespeare’s plays in Irel和, some of them involving famous international actors like Orson Welles, 但有一种观点认为莎士比亚不属于爱尔兰的国家舞台.
但还有另一个方面:如果爱尔兰人对莎士比亚持矛盾态度, they also were aware that Shakespeare had been ambivalent about Irel和, 根据他戏剧中的一些人物和参考文献——比如罗莎琳德把她的情人比作《皆大喜》中的爱尔兰狼.这种对莎士比亚的看法可能也暗示了爱尔兰作为一个独立国家的一些自我怀疑, a society in transition. What you don’t stage in your theaters is often as revealing as what you do.
在过去的四十年里——自《电子游戏软件》爆发以来——爱尔兰戏剧界逐渐重新开始关注莎士比亚, which really accelerated with the Good Friday Agreement. 这包括《电子游戏软件》和《电子游戏软件》，演员们用自己的爱尔兰口音说话, instead of affecting English accents. 现在, in the present, there seems to be more Shakespeare than ever in Irish theaters—perhaps, 如我所说, to help sort out where the Irish-British relationship is going.
与此同时, we’re also seeing English theaters reviving Irish plays, 比如布赖恩·弗里尔的《电子游戏软件》[涉及1833年英国当局对一个爱尔兰村庄的“英国化”]. What does this all mean? Maybe it’s a way to deal with issues surrounding Brexit.
问:正如你之前提到的，我们的想法是将戏剧视为晴雨表, 一面镜子, of larger social, 政治, 和 cultural trends taking place, 正确的?
朗尼: 是的. 在“凯尔特之虎”时期[20世纪末和21世纪初爱尔兰经济快速增长的时期], 在修道院上演的许多戏剧都表明物质主义不是一件好事. But in the theater programs, 盎格鲁-爱尔兰银行(Anglo-Irish Bank)的广告会敦促大家“投资你的钱”.“人们会给修道院打电话，为他们想要打动的商业客户要票, 和 when they were told the cost they’d say, “Haven’t you got anything more expensive?” So the Abbey increased its ticket prices.
在凯尔特之虎时期，很多爱尔兰人都觉得手头宽裕——尽管这可能有些可疑——你可以从一些人从商业或经济角度看待戏剧的方式中看出这一点.
问:你还是修道院剧院和门剧院档案数字化项目的学术带头人, creating the largest multi-media digital theater archive. What are some of the items you’ve come across?
朗尼: We have some substantial video 和 audio content, 脚本, correspondence, 和 other materials, 和 it’s quite fascinating. In one instance, 多年来，我们追踪了阿比修道院手稿中亵渎或有争议的词语的使用情况, like “divorce” or “homosexuality.” What we found was that, before these subjects were discussed in the Irish Parliament, they were being discussed in the Abbey 剧院.
项目的另一部分涉及修道院董事会的会议记录, 包括20世纪30年代威廉·巴特勒·叶芝在董事会任职的时期. During that time, which was when Irel和 was broke, 剧院决定削减工资，但对女演员的削减幅度要比男演员大. The male actors wouldn’t have it, they made a big protest about it, 和 Yeats agreed with them, so the theater’s managers backed down.
这些都是你可以从学习戏剧中学到的东西:当它挑战社会变得更好时，它就处于最佳状态.
—Sean Smith | University Communications | April 2019