Conversations on a collaboration: an interview with Martin Lynch
Conversations on a collaboration: an interview with Martin Lynch
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合作对话：马丁·林奇专访
DOI：
10.1080/09670882.2017.1411238
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发表时间：
2018
影响因子：
0.7
通讯作者：
Harte L
中科院分区：
文献类型：
--
作者：
Harte L
剧作家马丁·林奇1950年出生在贝尔法斯特吉尔纳赫克的一个码头工人家庭，排行老二，13岁(图1)。这家人在20世纪60年代初搬到了西贝尔法斯特的Turf Lodge地区。林奇15岁离开学校，一直从事剪布工的工作，直到1969年，他成为共和党俱乐部的管理员，该组织在1967年被斯托蒙特政府禁止。这种街头政治参与，再加上他讲故事的父亲的影响，以及他对卡尔·马克思和詹姆斯·康诺利的阅读，激发了他的想象力，并导致了他第一次尝试写作，在写作中，他借鉴了自己和家人的经历。1976年，林奇帮助在贝尔法斯特组织了一次约翰·雅登和玛格丽塔·达西的争议性史诗《不间断的康诺利秀》(1975)的社区巡演，这是他看过的第一部戏剧。这段经历是革命性的，给了他写自己戏剧的动力，其中第一部戏剧《我们想要工作，我们想要面包》(1977)在林奇于1976年与人共同创立的草坪小屋联谊社区剧院上演。该剧的名字源于1932年参加贝尔法斯特户外救济罢工的人的战斗口号，当时失业的新教和天主教工人异常地聚集在一起，抗议那些寻求额外经济援助的人所得的微薄报酬。在这一首演之后，又有四部联谊会制作的戏剧-IS
Playwright Martin Lynch was born into a dockworker’s family in Gilnahirk, Belfast in 1950, the middle child of thirteen (Figure 1). The family moved to the Turf Lodge area of West Belfast in the early 1960s. Lynch left school at fifteen and worked as a cloth cutter until 1969, when he became an administrator for the Republican Clubs, an organisation that had been banned by the Stormont government in 1967. This street-level political involvement, combined with the influence of his storytelling father and his reading of Karl Marx and James Connolly, kindled his imagination and led to his first attempts at writing, in which he drew on his own experiences and those of his family. In 1976, Lynch helped to organise a community tour in Belfast of John Arden and Margaretta D’Arcy’s polemical epic, The Non-Stop Connolly Show (1975), which was the first play he ever saw. The experience was transformative and gave him the impetus to write his own plays, the first of which, We Want Work, We Want Bread (1977), was performed at the Turf Lodge Fellowship Community Theatre, which Lynch co-founded in 1976. The play’s title derived from the rallying cry of those who took part in the Belfast Outdoor Relief strike of 1932, when, exceptionally, unemployed Protestant and Catholic workers came together to protest against the meagre payments available to those who sought additional financial assistance. This debut was followed by four more Fellowship-produced plays–Is