The play Dayshift (‘Torn de dia’), by Darren Donohue is a choral work in which references to Kafka and Orwell coexist. In Dayshift, the company becomes the symbol of oppression of the individual. Oppression grotesquely disguised as salvation, trying to convince the worker that within the company headquarters, he will find a full meaning to his existence. Standardization of all differences, inability to communicate, futility of entertainment to achieve happiness are the resources of the modern working life. Day, the main character, in the course of a single day, from dawn to dusk, reminds us the initiation trip of Leopold Bloom of Joyce. But while one walks around Dublin during that sixteen of June, Day remains closed within his company.
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AuthorDarren Donohue
Darren is an award winning playwright/poet currently based in Co. Kilkenny, Ireland. In 2013, he was commissioned by The Abbey and his play – ‘Home Game’ was presented at The Peacock as part of their Home series. Also in 2013, his play – ‘Keep the Home Fires Burning’ won the Audience Choice Award @ Scripts, Ireland’s Playwriting Festival. In 2012, his play – ‘Tuesday Evening (following the news)’ was produced by Fishamble (the new play company) as part of ‘Tiny Plays for Ireland’ and recently published by New Island Drama. Directed by Alice Malin, his play – ‘The Bird Trap’ was produced by Three Streets at The Lost Theatre, London. Interview with teh author … 1.-How did the idea of writing this play come to you? With “Dayshift” I wished to explore the consequences of sacrificing our common morality upon the altar of materialism. It looks at what happens when the human spirit in placed within an environment where everything is for sale and nothing has value. I utilised a strong experimental style, rich in imagery to tackle this issue. 2.-To what extent do you think this reflects the current situation in your country? With the collapse of the Church in Ireland, materialism filled the spiritual void in our society. The “Things” people owned, their occupation and the pursuit of wealth gave people a new purpose and meaning to their lives. Of course, with the economic crash, all these newfound certainties were once more throw in the air. “Dayshift” reflects and explores this process using humour and an avant-garde approach to theatre. 3.-How would you define your style of writing? I like to write toward an image, using dialogue and humour to disarm and hypnotise the audience, preparing them to accept the image I’m attempting to convey. A potent image can define a culture and a nation, become a compelling symbol of how we understand and relate to each other. 4.-What is theatre for you? Theatre is our gateway into the marvellous. 5. Is there a relationship between the journey of alienation suffered by Mr Day and your daily life as a playwright? The artist is always an outsider in society. This positon grants them an original perspective which filters into their work. In all my plays, I try to reimagine the world and our place within it. I want to sink beneath the surface of “everyday reality” to pluck at the delicate treads which keep us tethered to hope and salvation. |
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DirectorMarilia Samper
She is actress, director and playwright. Born in Sao Paulo, Brazil. Settled permanently in Spain after living in different countries. Study performance at the Institut del Teatre in Seville, and works with various companies in the city, such as Viento Sur Teatro, La Matrona and Centro Andaluz de Teatro. Study director and playwright at the Institut del Teatre of Barcelona. Since then she has developed her career as writer and director, and has been represented on stage in most emblematic spaces of Barcelona. Among her texts are: Pequeños Monstruos (Ivanow Festival Grec 2013), Udol (Teatre Lliure, Ars Theatre Q-2012), L’ombra al meu costat (T6 Project, TNC 2012 ), Pleasure and Pain (Beckett Barcelona 2011), among others. Among her directions, Pulmons by Duncan Macmillan (Beckett 2014), Si existeix encara no ho he trobat by Nick Paine (Sala Beckett 2013), Suïcides by Llàtzer Garcia (Teatre de Bescanó 2012). |
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ActorsTeatre de l’Enjòlit.
Company of actors formed by Elies Barberà, Albert Alemany, Marta Montiel, Jenny Beacraft and Arnau Marín. Among their shows are Potser somniar, En La Primavera perpètua by Elies Barberà, Corrüptia by Josep Lluís Fitó, Paella amb Botifarra by Iban Beltran and Elies Barberà, Si no ens paguen, no paguem! by Dario Fo and El setè cel by Caryl Churchill. |
| Translator into Catalan:Rocío García Recuenco |