The notion of Brigid bringing power to art is one that doesn’t hit me often. I have, of course, written about Brigid the Poet before. But I don’t think I’ve covered the aspect of power and art. At least, if I have, I can’t remember it, so here we go.
(I mean, let’s face it, I’ve been writing this blog for five years now, so, remembering everything is going to be difficult. Also, five years????)
Illuminating Social Issues through Theatre
Art has always been a powerful medium for reflecting and challenging societal norms. The current production of Grania by Augusta Gregory at the Abbey Theatre is a testament to this power. Directed by Caitríona McLaughlin, this play brings to life the legendary Irish figures Gráinne, Diarmuid, and Fionn Mac Cumhaill. The play is said to explore themes of love, lust, power, and desire. This production not only entertains but also provokes thought and discussion about contemporary social issues, embodying the essence of “Brigid, Art, and Power.”
The Role of Brigid, Goddess of Poets
Brigid, symbolizes the transformative power of art. As the goddess of poets, Brigid inspires creativity and expression, encouraging artists to use their talents to address and reflect on societal issues. In the context of the Abbey Theatre’s production of Grania, Brigid’s influence is evident in the way the play uses storytelling to delve into complex human emotions and social dynamics. The play’s narrative challenges the audience to reconsider their perspectives on love, loyalty, and societal expectations. Now, I have to say that while love, loyalty, and societal expectations is repeated ad nauseum when talking about this play in general, I have other thoughts.
Because of course I do!
Grania: A Reflection of Contemporary Issues
In case you don’t know the story, the basics are this:
Gráinne (Gregory uses the Latin spelling, but honestly, I just can’t!) is promised to marry Fionn. (Again, she spells it “Finn” but really…) The night before the wedding, she persuades Diarmuid to run away with her. To save her from marriage to the old man. (Finn is meant to be in his 60’s at this point!) They spend 7 years on the run. Eventually Finn catches up to them, and through treachery, Diarmuid dies.
Now, this is the high level overview. Some aspects of this production differ from the versions I have read and learned as a kid in school. This is the nature of story telling though.
Where the contemporary issues come in? Well. There are two actors/ vocalists in the play. (Laura Sheeran and Seán Boylan). This choice adds such power to the piece. The two vocalists portray modern homeless people, in clothing, way of moving and tents. Well, possibly one tent. I honestly wasn’t paying too much attention to the tent(s). This is the essence of Brigid, Art, and Power—using art to mirror and critique the society we live in.
The idea of Diarmuid and Gráinne living on the run, homeless for seven years is an important element of the story. Homelessness is such a huge topic in this country. And the play showed this in a really subtle way.
The Power of Art in Social Commentary
Art has the unique ability to influence public opinion and inspire change. The Abbey Theatre’s production of Grania exemplifies this by bringing historical and mythical narratives into the modern era. It makes them relevant to today’s social issues. The play’s exploration of power dynamics and personal agency encourages the audience to think critically about their own lives and the world around them. This is a powerful demonstration of Brigid, Art, and Power, showing how art can be a catalyst for social awareness and transformation.
What power dynamics? Well, Finn is an old, white, rich, powerful man. Diarmuid is like a son to him, but bound by honour. Gráinne is a young girl, who has no understanding of love. No understanding of life, really. Honestly, how could such a young woman face into a marriage with an unknown old man? (And how often does this still happen in the world today?)
The power differentials – and how art can display them
Equally, Fionn, in the play, originally reckons this to be a marriage of convenience. Then he sees Gráinne, hears her talking, sees her innocence and apparently falls in love with her. The old lecher.
Diarmuid on the other hand makes a promise to Fionn that he will not marry (i.e.shag) Gráinne but keep her safe til she gets her mind straight. He lasts seven years. Which, to be fair, was a fair accounting.
Gráinne exercises her autonomy by (in some cases, but not this exploration) bewitching the entire company to allow her to escape with Diarmuid. Diarmuid is seen as helpless to refuse her because of his honour. (Bloody honour, always being used for excuses for men’s actions to women.)
As modern audiences, we may see this as perfectly normal and right of Gráinne, to be expressing some want or need of her own. But for most of Irish history (yes, including the Brehon laws!) this was not the case. A daughter was a father’s property, to be disposed of as he wished. And yes, of course. There were fathers who took their daughters’ wishes into account. But there equally many who didn’t. As artists, as Brigid followers, it is as important to highlight where the power lay as when this power was circumvented or adjusted.
Different Productions, Different Perspectives
Each production of a play like Grania can bring forward different aspects of the story, depending on the social issues prevalent at the time. A fantastic example of Brigid the Poet, Art and Power. For instance, a production during a time of political upheaval might emphasize themes of rebellion and resistance, while a production in a more stable period might focus on personal relationships and moral dilemmas. This flexibility is a testament to the enduring power of art and its ability to adapt and remain relevant. The current production at the Abbey Theatre highlights the timeless nature of the story while also making it pertinent to contemporary audiences3.
It certainly prompted some conversations in my family over the weekend. Now, I haven’t seen Grania before. Although, surprising no one, I’ve read it. But this production brought out to me just how strong Gráinne has to be in this story. She comes from a wealthy background. She’s promised to a life of relative ease and comfort. She is unlikely to know much hardship or hunger in life. (Other than when famine strikes).
And yet, she went willingly into exile with a man of her choice, rather than look at continuing that easy life but marrying Fionn.
Conclusion – Brigid, Art and Power
Versions differ as to Gráinne’s subsequent actions. In some Aengus takes Diarmuid’s body to his home at Brú na Bóinne. In some Gráinne swears her children to avenge their father’s death upon Fionn, while in others she grieves until she dies herself. In some she is reconciled with Fionn, and negotiates peace between him and her sons; or goes so far as to marry Fionn at last.
The ending in this version is that Finn sends Diarmuid off to die by fighting the “King of Foreign”. (I mean, for most of us in Ireland, depending on the time period, the “King of Foreign” would be Vikings, Normans or English. Time period dependent. ) And then, with his last breath, Diarmuid is more concerned with making things right with Finn than by taking any care of Gráinne.
So she essentially says, “screw him so” and goes and puts on her fancy clothes again and goes back to her life of luxury.
Gregory plays into the “marry Fionn at last” version of the story.
With so much going on around the world today, with so many areas where women either don’t have rights or are having those rights curtailed, rolled back or otherwise impaired, this examination of one woman’s expression of freedom is important. Gráinne always exercises autonomy in this story, no matter the version of it you hear. But, in this version, she is prepared to take account of what she thought was love from Diarmuid. She is prepared to make the hard choices. Most of all, she is prepared to leave behind a life she thought was full and happy, in the light of new information.
The Abbey Theatre’s production of Grania is a powerful example of how art can be used to reflect and challenge societal norms. By reimagining a classic tale through the lens of contemporary issues, the play demonstrates the enduring relevance of Brigid, Art, and Power. As the goddess of poets, Brigid inspires artists to use their creativity to address and reflect on the world around them, making art a powerful tool for social commentary and change. This production of Grania not only entertains but also provokes thought and discussion, embodying the true power of art in society.
