Lughnasa

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‘Dancing at Lughnasa’, dramatic techniques and devices
* Foreshadowing – through the use of devices (see below) or narrative; Friel often hints at what comes later in the play, sometimes sneaky – in the first dialogue for example, Chris says “When are we going to get a decent mirror to see ourselves in?” – this could be interpreted as Friel showing that the women are blind to the world around them, to their own inner trouble, and just how close their family is to the blink of collapse. It is a good line for Friel to highlight that at this moment in time, everything is as it should be and nothing has crumbled yet, but it will, and the sisters cannot foretell it. * Use of symbolic devices such as the radio (the music foreshadows events in the play, hints at backstory, usually provides a sense of what the women feel inside but cannot express on the outside, used to reference context and ultimately link the women from their microcosm in Ballybeg to the wider world) or the kites (representing escape as a pair, possibly Jack and Gerry, or, when one considers the tortured faces, a foreshadowing of Rose and Agnes’s doomed leave.) * Stage Directions – Friel’s stage directions are highly detailed and this shows that to Friel, every little character and stage detail 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 questions unanswered to the audience – e.g; What is going on between Gerry and Agnes? Why 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 detail? It makes the false memory concept all the more interesting, as the audience can forget that this is what Michael is supposed to remember as ‘more real than incident’ and ‘both actual and illusory’. *...
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