Field Day Revisited (Ⅱ): An Interview with Declan Kiberd

Intended to address the colonial crisis in Northern Ireland, the Field Day Theatre Company was one of the most influential, albeit controversial, cultural forces in Ireland in the 1980's. The central idea for the company was a touring theatre group pivoting around Brian Friel; publications, for which Seamus Deane was responsible, were also included in its agenda. As such it was greeted by advocates as a major decolonizing project harking back to the Irish Revivals of the late nineteenth and early twentieth centuries. Its detractors, however, saw it as a reactionary entity intent on reactivating the same tired old ”Irish Question.” Other than these harsh critiques, Field Day had to deal with internal divisions, which led to Friel's resignation in 1994 and the termination of theatre productions in 1998. Meanwhile, Seamus Deane persevered with the publication enterprise under the company imprint, and planned to revive Field Day in Dublin. The general consensus, however, is that Field Day no longer exists. In view of this discrepancy, I interviewed Seamus Deane and Declan Kiberd to track the company's present operation and attempt to negotiate among the diverse interpretations of Field Day. In Part One of this transcription, Seamus Deane provides an insider's view of the aspirations, operation, and dilemma of Field Day, past and present. By contrast, Declan Kiberd in Part Two reconfigures Field Day as both a regional and an international movement which anticipated the peace process beginning in the mid-1990's, and also the general ethos of self-confidence in Ireland today.