The dramatic functions of defense mechanisms in Martin McDonagh's plays; 'The Beauty Queen of Leenane,' 'A Skull in Connemara,' and 'The Lonesome West,' emphasizing Sigmund and Anna Freud 's theory

Psychoanalytic examinations of narrative works, particularly in dramatic literature, often concentrate on dissecting the actions of the characters. Yet, these analyses frequently linger on the surface level of characters' expressions and behaviors. However, delving into the hidden motivations, especially the suppressed impulses of these characters -a focal point in Freudian psychoanalysis-,can elucidate the underlying causes of their remarks and behaviors. Exploring the cause and effect can unravel its dramatic function within the dramatic work. This scrutiny holds particular significance in character-driven works as opposed to those centered on events. Martin McDonagh, the Irish playwright, intricately depicts the emergence of emotions and instincts of characters perceiving their inner state. Living in a critical historical juncture, these characters stand against a plethora of failures, shortcomings, and defeats. Therefore, looking into McDonagh's characters can prove fruitful in understanding their internal dramatic functions. This study examines, through the lens of Sigmund and Anna Freud's theories on psychological defense mechanisms, how McDonagh's characters interact with their internal destructive impulses in three plays: 'The Beauty Queen of Leenane,' 'A Skull in Connemara,' and 'The Lonesome West.' This research seeks to answer the question of what is the function of defense mechanisms in McDonough's works and how does the author depict the traditional Irish society in the form of characterization of his characters? The research findings underscore the efficacy of understanding defense mechanisms in the creation and analysis of dramatic characters. Likewise, in the examined plays, applying defense mechanisms, primarily denial, projection, and justification; society is portrayed as a structure masking problems rather than resolving them. Consequently, there appears to be no hope for redemption. Furthermore, underlying the mechanism of internalization by cyclic representation of traditional Irish society, McDonagh encircles both future generations and the preceding ones. In this way, we conclude that MacDonagh has a desperate view of saving traditional Irish society in his first trilogy.