to play in the resolution of what had come to be known as "the Troubles": The directors believed that Field Day could and should contribute to the solution of the present crisis by producing analyses of the established opinions, myths and stereotypes which had become both a symptom and a cause of the current situation. (Ireland's Field Day vii) Field Day became an artistic response to the violence, history and politics which divided Northern Ireland into a series of seemingly irresolvable dichotomies; Orange/Green, Unionist/Nationalist and Protestant/Catholic are only the most prominent. Field Day Publishing Every year saw a new production open in Derry and begin a tour of venues large and small throughout both Northern Ireland and the Republic. While Field Day's artistic venture continued to fulfil its original mandate of bringing "professional theatre to people who might otherwise never see it" (Richtarik 11), in September 1983 they launched a project whose target audience was primarily the academic community. The Field Day Theatre Company began publishing a series of pamphlets "in which the nature of the Irish problem could be explored and, as a result, more successfully confronted than it had been hitherto" (Ireland's Field Day viii). The first set of three pamphlets were written by directors of the Field Day Company – Tom Paulin, Seamus Heaney and Seamus Deane. The pamphlets were largely responsible for entering Field Day into the political debate whose calcified terms the project had originally wanted to explode. With Tom Paulin's Riot Act (1984) the division between critic and artist began to crumble, the politics of the pamphlets were finding their way into the plays (Richtarik 242). In the 1990 introduction to Nationalism, Colonialism, and Literature — a collection of three Field Day Pamphlets by Terry Eagleton, Fredric Jameson and Edward Said — Deane writes: "Field Day's analysis of the (Northern Irish) situation derives from the conviction that it is, above all, a colonial crisis" (Eagleton 6). In this essay Deane calls for a re-engagement with the concept of nationalism, and positions Field Day in a squarely antithetical position to those he refers to as revisionist historians and critics, whose chief aim is "to demolish the nationalist mythology" (6). The categories of revisionist and anti-revisionist were all too easily superimposed onto the categories of unionist and nationalist, and the space between them, created by the production of Translations, was closing fast. For some, Seamus Deane