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In this play, The Freedom of the City, set in the troubled British province of Northern Ireland, Brian Friel, ensures that we as the audience are made well aware of the violence and mayhem which is a normal part of daily life. We can only marvel at how the poor, such as Lily, can survive in such a difficult and challenging environment. Indeed, it is the way in which Lily retains her dignity, and refuses to adopt a cynical view of life, that makes us admire her. This is especially so when we consider the lifestyle which she comes from an invalid husband who has only worked 'for a fully year after [they] were married', eleven children, a condemned two room flat without running water, 'except what's running down the walls' and a house-cleaning job. In addition, she can appreciate her apparent 'luck' at being able to enjoy the 'facilities' and comforts of the Mayor's Parlour, concluding that 'it's a very unfair world'. She also shows her motherly care and concern for both Michael and Skinner, which further endears her to us.
Even so, the dramatic style which Friel uses stops us from simply worrying about the three central characters in the Guidhall. We need to speculate how differently, we as an audience, would have reacted had this been constructed as a normal and conventional play. So, what are these distinctive dramatic devices which stop us from simply becoming immersed in the central story? Furthermore, why does Friel choose to interrupt the storyline and not to present events in a simple linear manner?
Friel uses Brechtian theatrical devices. Bertolt Brecht was a famous German writer of plays who developed his own style of theatre, which included aspects of actual stage production. He was concerned that an audience would not become so immersed in the actual plot of a play that they would stop looking for the important ideas and messages which lay behind it. He believed that plays were basically a vehicle for teaching people ideas or for presenting particular views about life and the world. He therefore maintained that the audience should be separated from the action of the play through an process he termed 'alienation'. In Brecht's plays, the audience is always made aware that they are watching a performance rather than somehow thinking they are watching a realistic portrayal of the world.
So, to return to this play and topic, Friel reminds us in so many ways that this is not total reality, nor are these events simply being portrayed as they actually occurred. Rather, from the very start of the play, we are forced to ask some fundamental questions since we learn that the three protagonists have been killed by the military forces. So, we can no longer ask ourselves what is to happen. Instead, we ask why and how has this come about. This in turn starts us off thinking about the situation and its implications, that is, the wider messages and ideas which lie behind the play.
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The very opening scene is one without words, in which the three dead bodies lie at the front of the stage. The stage is lit eerily by the flash of a photographer and the Priest administers the last rites. This then gives way to the first of the many interviews conducted by the 'testy' and short-tempered Judge, who sits symbolically above all of them. We then hear the academic analysis of Professor Dodds, which is broken into by a Woman shouting to the assembled crowd at the illegal march 'stand your ground!'. Finally, at the end of these introductory scenes we actually meet the three main characters, fleeing from CS gas and water cannons.
These seeming interjections in the action and central events show us that there is a close interaction between the inner world within the Mayor's parlour and the other world, as represented by the streets, the courtroom and the lecture theatre. Also, these seemingly insignificant events have real impact on others, and so the central themes and ideas arise very powerfully.
This is not to say that Lily and her awful situation are any less disturbing to us. However, these tragic circumstances become but one level of ideas upon which we, as an audience contemplate. Each time we are totally drawn into the pathos of her situation, there is a break in the action and narrative, so that we are obliged to both reflect on the ideas as well as consider their connection with external elements. Had Friel not used these breaks, special sound effects, staging lay-out and variations in the role of the actual the audience itself, then the focus would have more exclusively been on Lily and not many of the bigger questions which Friel wishes us to contemplate.
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