ABSTRACT
Ritual is used within On Baile’s Strand but the play as a whole can be seen as highly ritualistic, particularly in its use of language. To gain insight into the function of the ritualistic element of the drama, the broad context and meaning of the play needs some explanation. According to R. Schechner, ritual manifests itself in many aspects of human and animal behaviour. F. Edwards begins his account of ritual and the theatre with an examination of the ritualistic elements in the behaviour of football supporters, drawing attention to the conformity to particular patterns, the rhythmical chanting. M. Esslin recognised that drama can be seen as ‘a manifestation of the play instinct’ or ‘as a manifestation of one of humanity’s prime social needs, that of ritual.’ Ritual has always been an ingredient in the practice of the most distinguished advocates of drama in education.
