‘‘The Dead Will Rise Here’’: Contested Cultural Memories of Bloody Sunday in the Abbey and Druid Productions of Frank McGuinness’ Carthaginians (1988/1992)
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2025-02-04
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en
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This thesis examines Frank McGuinness’s Carthaginians (1987) as a pivotal work in Irish theatre of the Troubles, exploring its nuanced representation of trauma, memory, and identity in the aftermath of Bloody Sunday (January 30th, 1972). Set in a graveyard in Derry, the play foregrounds themes of and mourning, as it offers a distinctive perspective on how the events of Bloody Sunday shaped collective and individual experiences. A central focus of this study is the comparative analysis of two major productions of Carthaginians: the Abbey Theatre’s premiere in 1988 and the Druid Theatre’s production in 1992. Drawing on newly digitised archival materials, including recordings and reviews, this thesis highlights the interpretive differences between these stagings. The Abbey Theatre’s minimalist, sombre approach emphasised the stark emotional weight of the play, aligning with the national significance of Bloody Sunday. In contrast, the Druid Theatre’s vibrant, colourful staging brought a more localized and communal energy to the performance, reimagining the play for an audience in Derry, the site of Bloody Sunday itself.
This thesis also examines The Burning Balaclava, the play-within-a-play in Carthaginians, as a satirical critique of the stereotypical and often exploitative representations of the Troubles in theatre. By using humour to subvert these tropes, McGuinness engages the audience in a self-aware reflection on the ethics of representing conflict and trauma on stage. This meta-theatrical element not only critiques dominant narratives but also underscores the play’s broader themes of healing and resilience through storytelling and performance. In the play, The Burning Balaclava is written by Dido, who is a queer character whose flamboyance and humour challenge traditional notions of masculinity and nationalism. This queer narrative will also be scrutinised, meaning this thesis investigates how McGuinness redefines the boundaries of cultural memory by incorporating marginalised voices that are often left out of stereotypical Troubles narratives.
The study further utilises archival research as a methodological approach to emphasise the importance of digital archives in theatre studies, as they offer invaluable insights into stage designs, directorial choices, and audience reception. This thesis argues that such research is critical for understanding how different productions interpret and reshape a play’s themes in response to their historical and cultural contexts. The Abbey Theatre’s production, performed in Dublin, underscored the play’s national significance, while the Druid Theatre’s
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staging in Derry emphasised its resonance within the local community, highlighting the interplay between location and performance.
Ultimately, this thesis contributes to ongoing debates about the cultural memory of Bloody Sunday and the Troubles more generally, as well as the role of theatre in shaping narratives of trauma and identity. It argues that Carthaginians transcends traditional nationalist and sectarian frameworks by foregrounding personal grief and queer perspectives, offering a more multifaceted portrayal of post-conflict Northern Ireland. By integrating archival research with performance analysis, this study not only enriches the understanding of Carthaginians but also underscores the evolving methodologies in contemporary theatre scholarship. McGuinness’s work challenges audiences to confront the complexities of memory, trauma, and representation, ensuring its continued relevance in Irish theatre and beyond.
Keywords: Carthaginians, Frank McGuinness, Bloody Sunday, Troubles theatre, cultural memory, archival research.
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