'‘Dancing at Lughnasa’, dramatic techniques and devices Essay\r'

'* Foreshadowing †through the manipulation of devices (see below) or narrative; Friel lots hints at what comes posterior in the hearten, roughlytimes sneaky †in the offshoot dialogue for example, Chris says â€Å"When are we going to get a decent mirror to see ourselves in? ” †this could be interpreted as Friel showing that the women are imposture to the world around them, to their own inner trouble, and erect how close their family is to the b connectedness of collapse. It is a good simple eye for Friel to highlight that at this moment in time, e re wholeything is as it should be and nonhing has crumbled yet, besides it will, and the sisters kittynot foretell it.\r\n* make use of of symbolic devices such as the radio (the medicinal drug foreshadows eventidets in the play, hints at backstory, usually provides a mavin of what the women feel inside but cannot express on the outside, used to reference context and ultimately link the women from thei r microcosm in Ballybeg to the wider world) or the kites (re bewildering escape as a pair, possibly Jack and Gerry, or, when one considers the tortured faces, a foreshadowing of Rose and Agnes’s doomed leave.)\r\n* coiffure Directions †Friel’s stage directions are highly diminutive and this shows that to Friel, every little character and stage stop is important, (takes the opening tableau for example. ) Each aunt has their own, very particular on stage personality, but these are certainly not 2D characters when Friel still leaves some researchs unanswered to the audition †e. g; What is going on between Gerry and Agnes?\r\nWhy is it that Friel wants Agnes to fly up in a passion, ‘on the point of tears’ when Kate is badmouthing Gerry, but the situation between them is never explored in more than detail? It makes the false retentivity concept all the more interesting, as the interview can will that this is what Michael is supposed to remembe r as ‘more real number than incident’ and ‘both actual and illusory’. * The spiritual domain Boy †In ‘Dancing at Lughnasa’, the fibber is the adult Michael, and Friel chooses likewise to have the adult Michael interpreting the ‘boy’s lines, and the aunts must never holler the boy.\r\nThis is a surreal concept, but both helps the audience remember that the whole play is Michael’s entrepot; â€Å"When I cast my mind back”… and also foreshadows Michael’s absence and escape later on in the play, or as a boy, his wishing of understanding of the situation. Alternatively, it again highlights the surreal concept that Michael can remember things that may or may not have happened as he is not present in those scenes.\r\n* The False Memory †â€Å"But in that respect is one memory of that Lughnasa time that visits me most a lot; and what fascinates me about that memory is that it owes nothing to fact…” The play is largely focused on Michael’s birth with the memories of his past, as his interspersed blocks of narration illustrate, but there is the question raised that, in fact, did most of the play, where Michael isn’t present, even happen?\r\nIt is all supposed to be from his memory, so how can he remember something which isn’t professedly? The blockadeing sets this question further in the audience’s minds when Michael talks about a memory that truly does have no factual fundament at all, and you can see elements of this seeping in throughout the play itself, (such as blasts of thirties euphony or referencing to historical context) and you can see it vie out as if peppered with bits of memory that didn’t inevitably happen at those times or in that order.\r\nIt does have a dream-like quality for these reasons, and only when we viewing up do we realise something was strange †I believe this is the effect Friel intende d to create for the audience. With memory, we often remember what stands out to us, not necessarily in the right order, but what Michael makes plain at the end is that his version of events is both real and imagined at the akin time, and his memories become more true to feelings as they go further from the actual order of events.\r\n'