Mutabilitie (eBook)

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2014 | 1. Auflage
112 Seiten
Faber & Faber (Verlag)
978-0-571-30092-1 (ISBN)

Lese- und Medienproben

Mutabilitie -  Frank McGuinness
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Set in Ireland in the sixteenth century, Mutabilitie explores the area where myth meets and transforms reality and where the harshness of life is transmuted into hope by the chance meeting of a poet and a playwright.

Frank McGuinness was born in Buncrana, Co. Donegal, and now lives in Dublin and lectures in English at University College Dublin. His plays include: The Factory Girls (Abbey Theatre, Dublin, 1982), Baglady (Abbey, 1985), Observe the Sons of Ulster Marching Towards the Somme (Abbey, 1985; Hampstead Theatre, London, 1986), Innocence (Gate Theatre, Dublin, 1986), Carthaginians (Abbey, 1988; Hampstead, 1989), Mary and Lizzie (RSC, 1989), The Bread Man (Gate, 1991), Someone Who'll Watch Over Me (Hampstead, West End and Broadway, 1992), The Bird Sanctuary (Abbey, 1994), Mutabilitie (NT, 1997), Dolly West's Kitchen (Abbey, 1999; Old Vic, 2000), Gates of Gold (Gate, 2002), Speaking Like Magpies (Swan, Stratford, 2005), There Came a Gypsy Riding (Almeida, London, 2007), Greta Garbo Came to Donegal (Tricycle Theatre, London, 2010), The Match Box (Liverpool Playhouse Studio, 2012), The Hanging Gardens (Abbey, 2013), Donegal (Abbey, 2016), The Visiting Hour (Gate, 2021) and Dinner With Groucho (The Civic, Belfast, 2022). His widely performed versions include Ibsen's Rosmersholm (1987), Peer Gynt (1988), Hedda Gabler (1994), A Doll's House (1997), The Lady from the Sea (2008) and John Gabriel Borkman (2010); Chekhov's Three Sisters (1990) and Uncle Vanya (1995); Lorca's Yerma (1987); Brecht's The Threepenny Opera (1991) and The Caucasian Chalk Circle (1997); Sophocles' Electra (1998) and Oedipus (2008); Strindberg's Miss Julie (2000); Euripides' Hecuba (2004) and Helen (2009); Racine's Phaedra (2006); Tirso de Molina's Damned by Despair (2012); James Joyce's The Dead (2013); and Molière's Tartuffe (2023).
Set in Ireland in the sixteenth century, Mutabilitie explores the area where myth meets and transforms reality and where the harshness of life is transmuted into hope by the chance meeting of a poet and a playwright.

The castle. William lies, fevered, drenched in sweat on straw. Hugh kneels beside him, drying him clean. The File watches them both.

William The buds grow in the summer.

Hugh They do.

William In May the buds grow golden in my father’s garden. In the summer. My father took a lease on his life. It was too short, my father’s life. The date of his death, the day was too hot. The eye of heaven looked on him, and he who shone like gold dimmed into death on the day of a fair, they say. He declined. I chanced to be away from home. I thought he was eternal, eternal, he would not fade. In summer, a fair day, my father lost possession of what he owned. The day turned to shade. Eternal father. He said to me, you are a blaggard. You will come to no good in your wandering. Mark my words. Can you breathe, man? Can you see, eyes? Live – give life, my father said. Too hot, more lovely. Chance, changing, eternal. My father said I was a blaggard. I let the fox get at the geese.

Hugh No harm done, no harm done.

William I let the fox get at the geese.

Hugh They can’t help it. That’s their nature. Don’t work yourself up.

William lies in Hugh’s arms.

You’re not too bad, not bad-looking. All right, William. That’s your name. William. Do you remember that? You told us that. You remembered your name was William. You’re an Englishman. You’re in Ireland. Do you know that? My name is Hugh.

William William, Hugh.

Hugh You’re taking that much in? I am an Irishman. You are English. We are friends. I will not hurt you. Do you remember what happened to you? (Silence.) Do you not remember? (Silence.) Are you a soldier?

William I have been.

Hugh Who did you fight for?

William I have also been a king and his queen and a boy and his girl and a lover and a clown, all these trades come naturally to me when I sit alone and sometimes I hear sweet airs in the fire, throw water on the fire, let the ashes sing – (William sings.) Dig the grave, dig the grave – (Silence.) I can’t remember what I am. I don’t know. (He starts to clap his hands.)

Hugh What are you doing?

William continues clapping. He stops suddenly.

William I can’t remember. Who is master in this house?

Hugh The master is kind and gentle here.

William You are not the master?

Hugh No, he is an Englishman, like yourself. When you’re a bit better, he’ll question you. He’ll look after you. I’m looking after you now.

William I like that.

Hugh I know you do.

William How do you know that, Hugh?

Hugh William, I know.

William William.

Hugh Hugh.

William English.

Hugh Irish. That’s the man.

William goes to touch Hugh. Hugh holds both William’s hands gently.

No, no.

Edmund enters.

Edmund How does he fare?

Hugh Master, I cannot follow him. His mind and tongue are not as one. His words dart from glen to river.

Edmund You have discovered nothing more.

Hugh Nothing, but that his father died at a fair day. It was in the summertime. The father considered him to be a blaggard. So he has been babbling, like a child.

Edmund William, why have you come amongst us? (Silence.) Where have you come from and why? (Silence.) What were you looking for? Was there anyone with you? Can you tell us? (Silence.) Can you tell us if there was more than one of you? What happened to you, William?

William We walked on foot, into a forest where all life seemed to have left. No birds sang. We watched the ground and all above us to save ourselves from the savages but they fell on us and bit our flesh like wolves. I thought they would have pierced my heart and drank my blood. There were men and women upon us. I don’t remember. Save us, father in heaven.

Edmund Us? How many of you were there?

William Two are captives. I broke free and ran. I am tired.

Edmund Are they Englishmen, the captives?

Silence.

William Yes. English.

Edmund Why did you risk coming to this country?

William To play.

Edmund He babbles again.

Hugh Play what?

William To play our parts upon the stage. To receive due reward. To live like lords in Ireland. To meet the poet Edmund. To plead my case before him. To take me into his service, that I may cease playing for I am tired of this theatre. Come with me to Ireland. My friends, I have so plotted my destiny that there shall be plenty for us all in Ireland. Follow me, dear friends. I am tired. (He claps his hands.) Tired. I remember.

Edmund My dear servants, how subtle is the instrument of the human mind. So delicate in its reasoning, so dainty in its imagining. It is yet God’s great gift and God’s great curse. How the soul of man can suffer through the mind diseased. Minister to him gently. Stay with him, one of you. Remember whatever else he may say, the queen herself may have sent him. William, when I first set eyes on you, beyond this castle, in the name of pity, I showed you mercy, poor soul, suffering. I will open my door and my heart to you, even if I must close them shut against so many. My heart is as heavy in sorrow, William, as yours is deep in distress that I cannot save all beyond these walls as I have saved you and these my servants. They wash away your fever with water as they have been washed in the waters of Our Lord. Let that same divine water wash this country clean. Convert it to the true faith of Jesus Christ Our Saviour from whom all revelation and redemption spring forth eternally at the behest alone of our divine sovereign Elizabeth of England. Most gracious virgin, lady most pure, lady immaculate, tower of ivory, pearl of Christ, your soldiers guard your chastity in this pagan country where Rome and its legions of priests and heathens would violate the sacred bed of England. Shower thy mercy on your most lowly, obedient servant. Hear my prayer, my virgin Queen, Elizabeth, guide me in righteousness. Guide these my servants in goodness. Guide this, our stranger, William, to thy eternal truth. And this country of Ireland, let your blessings rain upon its rivers. Cleanse it of herself. Cleanse it of Rome. Reform it to the true faith. I ask this in God’s name. Amen.

Hugh Amen.

Edmund exits.

Why did you not say amen?

File I did not think it polite to listen to the Protestant at prayer. My dear William, are you asleep? I require you to be awake. I require your eloquence. Tell me, William, about this summer’s day you were babbling about. (She is now lying beside William.) Speak prettily, my loved William. We must lift the odour of Edmund Spenser. Outwit him, William, my Papist, my pupil, my Englishman. Who are you?

William (whispers)

Shall I compare thee to a summer’s day?

Thou art more lovely and more temperate.

Rough winds do shake the darling buds of May,

And summer’s lease has all too short a date.

Sometimes too hot the eye of heaven shines,

And oft is his gold complexion dimmed.

And every fair from fair sometimes declines,

By chance or nature’s changing course untrimmed.

But thy eternal summer shall not fade,

Nor lose possession of the fair thou owest.

Nor shall death brag thou wandrest in his leafy shade

When in eternal lines to time thou growest,

So...

Erscheint lt. Verlag 20.2.2014
Verlagsort London
Sprache englisch
Themenwelt Literatur Lyrik / Dramatik Dramatik / Theater
Kunst / Musik / Theater Theater / Ballett
Schlagworte Mythology
ISBN-10 0-571-30092-8 / 0571300928
ISBN-13 978-0-571-30092-1 / 9780571300921
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