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The Theatre of Brian Friel by Christopher Murray Pdf
Brian Friel is Ireland's foremost living playwright, whose work spans fifty years and has won numerous awards, including three Tonys and a Lifetime Achievement Arts Award. Author of twenty-five plays, and whose work is studied at GCSE and A level (UK), and the Leaving Certificate (Ire), besides at undergraduate level, he is regarded as a classic in contemporary drama studies. Christopher Murray's Critical Companion is the definitive guide to Friel's work, offering both a detailed study of individual plays and an exploration of Friel's dual commitment to tradition and modernity across his oeuvre. Beginning with Friel's 1964 work Philadelphia, Here I Come!, Christopher Murray follows a broadly chronological route through the principal plays, including Aristocrats, Faith Healer, Translations, Dancing at Lughnasa, Molly Sweeney and The Home Place. Along the way it considers themes of exile, politics, fathers and sons, belief and ritual, history, memory, gender inequality, and loss, all set against the dialectic of tradition and modernity. It is supplemented by essays from Shaun Richards, David Krause and Csilla Bertha providing varying critical perspectives on the playwright's work.
Friel is recognised as Ireland's leading playwright and due to the ability of plays like Translations and Dancing at Lughnasa to translate into other cultures he has made a major impact on world theatre. This study draws on the Friel Archive to deepen our understanding of how his plays were developed.
The Achievement of Brian Friel by Alan J. Peacock Pdf
The reception of Brian Friel's recent Dancing at Lughnasa confirms his status as Ireland's leading dramatist. The body of work that he has produced is outstanding in its breadth of sympathy and interest, its dramaturgical invention and its wide cultural and intellectual purview. At one level, it may be seen as a continuous examination of Irish culture and politics, committed and analytical, but not sectionally propagandist. His outlook in his drama, however, is not amenable to simplistic categorization, political or otherwise. As this volume demonstrates, linguistically, allusively, and in terms of its broad transcultural analogising, his work ranges widely. He utilises ideas and terminologies drawn from various cultural sources and academic disciplines in a way that exemplifies his central, insistent concern with the phenomenon of language and implications. As an Irish dramatist, however, he makes Irish social, political and, notably, family life his focus and builds upon a recognised tradition of twentieth century Irish play-writing. This book addresses the variety and complexity of Friel's drama by bringing to bear a range of academic and other professional and creative approaches in order to highlight particular aspects of his work and thought. Hence, contributors include a playwright, poet, theatre-producer, historian and various specialists in relevant literatures. In this way, the book suggests the intellectual richness, humanity, and protean skill and invention of the work.
The year is 1878. The widowed Christopher Gore, his son David and their housekeeper Margaret, the woman with whom they are both in love, live at The Lodge in Ballybeg. But in this era of unrest at the dawn of Home Rule, their seemingly serene life is threatened by the arrival of Christopher's English cousin, who unwittingly ignites deep animosity among the villagers of Ballybeg. The Home Place premiered at the Gate Theatre, Dublin, in February 2005.
This third collection by Brian Friel contains two original works: Performances, which considers the relationship between the private life and public work of the composer Leos Janácek; and The Home Place, set in Ballybeg, Donegal, at the dawn of Home Rule. There are three masterful plays based on stories by Chekhov; and Friel's exquisite versions of Three Sisters and Uncle Vanya, of Ibsen's Hedda Gabler and of Turgenev's A Month in the Country. Performances 'A minor work the way Thomas Mann's Death in Venice or Beckett's Endgame is a minor work. Deceptively brisk and light in tone but taut and gravely pregnant with meaning... for Friel, life creates its own symbolism and poetry, and so it does in this play.' Sunday Times The Home Place 'A rich, allusive, densely layered play, which has echoes of Friel's masterly Translations while reminding one that he has spent much of his recent life adapting and translating Chekhov... Friel hauntingly conveys the pathos of exile and the delusion of ownership.' Guardian Hedda Gabler 'Across the gulf of the 20th century one great playwright is talking to another... neither a simple translation nor, as the official title has it, or a 'new version', but something altogether larger.' The Irish Times
Brian Friel is Ireland's leading living playwright, a fact that is easily observable on the billboards of Derry Dublin, London and New York. These locations are also essential in understanding the range and reach of Friel's theatrical concerns and his projected audience. From his first major success on the stage, Philadelphia Here I Come! in 1964 to his most recent play, The Home Place in 2005, Friel has revived and revised the Irish tradition of verbal theatre. This book examines Friel's work within the context of Irish storytelling. It also considers his position as a writer from the north of Ireland negotiating between the responsibilities of art and the demands of violent conflict. Friel's work forms the cornerstone of contemporary Irish drama and this comprehensive study shows why he is recognized as one of the most significant and influential playwrights writing today.
Contents: Philadelphia, Here I Come; The Freedom of the City; Living Quarters; Aristocrats; Faith Healer; Translations Brian Friel was born in County Tyrone in 1929 and worked as a teacher before turning to full-time writing in 1960. His first stage success was in 1964 with Philadelphia, Here I Come, which established his claim as heir to such distinguished predecessors as Yeats, Synge, O'Casey, and Behan. In 1979 he and actor Stephen Rea formed the Field Day Theatre Company, whose first theatrical production was Friel's Translations in 1980. Also included in this selection are The Freedom of the City, set in Londonderry in 1970; Living Quarters, which Desmond MacAvok in the Evening Presscalled "one of the most fascinating and, in the end, truly moving evenings. . .in Irish Theatre"; Faith Healer, a metaphoric depiction of the artist and his gift' and Aristocrats, "as fine and as stimulating and as warm a piece of writing as had appeared on the Irish stage for many years," according to David Nowland, the Irish Times. --------------------------------------------------------------------------------
This series contains what no other study guides can offer - extensive first-hand interviews with the playwrights and their closest collaborators on all of their major work, put together by top academics especially for the modern student market. As well as invaluable synopses, biographical essays and chronologies, these guides allow the student much closer to the playwright than ever before! In About Friel, teacher and playwright Tony Coult has selected an extensive and stimulating range of documents and interview material that explores Friel's life, work and the experiences of his collaborators and fellow artists who put that work on stage, including Patrick Mason, Connall Morrison, Joe Dowling and actors Catherine Byrne and Mark Lambert. If you want to read just one book on Brian Friel and the titanic power of his work, this is it.
One of the masterpieces of Ireland's greatest living playwright, Faith Healer weaves together the stories of a travelling healer, his wife and his manager. From their different versions of the healer's performances and a terrible event at the centre of the drama, Friel creates a powerful and haunting work of art.
The action takes place in late August 1833 at a hedge-school in the townland of Baile Beag, an Irish-speaking community in County Donegal. In a nearby field camps a recently arrived detachment of the Royal Engineers, making the first Ordnance Survey. For the purposes of cartography, the local Gaelic place names have to be recorded and rendered into English. In examining the effects of this operation on the lives of a small group, Brian Friel skillfully reveals the far-reaching personal and cultural effects of an action which is at first sight purely administrative. "Translations" is a modern classic. It engages the intellect as well as the heart, and achieves a profound political and philosophical resonance through the detailed examination of individual lives, of particular people in particular place and time." Daily Telegraph "This is Brian Friel's finest play, his most deeply thought and felt, the most deeply involved with Ireland but also the most universal: haunting and hard, lyrical and erudite, bitter and forgiving, both praise and lament." Sunday Times