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Contents Part One I.0. Introduction ................................................................................................................... 1 I.1. Research Project ............................................................................................................ 1 I.2. Waiting for a Connection ............................................................................................ 16 I.3. Contemporary Irish Playwrights: Descendants of the Irish Literary Revival .............. 29 I.4. Brian Friel: Ireland’s Most Successful Contemporary Playwright .............................. 39 I.5. Making History: A Chronology of Brian Friel’s Private and Public Stages in Life .... 45 I.6. State of Research ......................................................................................................... 49 Part Two II.0 Identity Theories ......................................................................................................... 57 II.1. Werner Weidenfeld: Knowledge of Orientation and Identity Construction ................ 57 II.2. Benedict Anderson: The Nation as Imagined Community .......................................... 59 II.3. Adrian Hastings: Language, History, and National Identity ........................................ 62 II.4. Montserrat Guibernau: Globalisation and National Identity ........................................ 65 Part Three III.0 Ireland’s Quest for Identity ......................................................................................... 71 III.1. Ireland’s Postcolonial Identity ..................................................................................... 71 III.2. The Role of the Irish Language ................................................................................... 78 III.3. Translations of the Past: Memory and Tradition in Ireland ......................................... 88 III.4. Migration and the Irish Diaspora ................................................................................. 95 III.5. Ireland’s Postnational Identity ................................................................................... 108 Part Four IV. Facets of Irish Identities in Brian Friel’s Plays .......................................................... 111 IV.1. Religion ..................................................................................................................... 111 The Enemy Within (1962) & Molly Sweeney (1994) IV.2. Exile .......................................................................................................................... 128 Philadelphia, Here I Come! (1964) & The Gentle Island (1971) IV.3. Homecoming ............................................................................................................. 147 The Loves of Cass McGuire (1966) & Living Quarters (1977) IV.4. Love .......................................................................................................................... 164 Lovers: Winners and Losers (1967) & Hedda Gabler (2008) IV.5. Politics ....................................................................................................................... 179 The Mundy Scheme (1969) & The Freedom of the City (1973) IV.6. History ....................................................................................................................... 194 Volunteers (1975) & Making History (1988) IV.7. Family ....................................................................................................................... 212 Aristocrats (1979) & Fathers and Sons (1987) IV.8. Mythology ................................................................................................................. 229 Faith Healer (1979) & Wonderful Tennessee (1993) IV.9. Language ................................................................................................................... 247 Translations (1980) & The Communication Cord (1982) IV.10. Music ........................................................................................................................ 266 Dancing at Lughnasa (1990) & Performances (2003) IV.11. Detachment ............................................................................................................... 280 The London Vertigo (1992) & The Home Place (2005) IV.12. Hope .......................................................................................................................... 290 The Yalta Game (2001) & Afterplay (2002) Part Five V.0. Conclusion: Staging Irish Identities in the Theatre of Brian Friel ............................. 297 Part Six VI.0. Bibliography .............................................................................................................. 311 VI.1. Primary Literature ..................................................................................................... 311 VI.2. Manuscripts ............................................................................................................... 312 VI.3. In Conversation ......................................................................................................... 312 VI.4. Secondary Literature ................................................................................................. 312 VI.5. Radio and Television ................................................................................................. 337 VI.6. Index of Photographs ................................................................................................. 338 .
Recommended publications
  • Dancing at Lughnasa

    Dancing at Lughnasa

    Dancing at Lughnasa Faber & Faber, 2011 // Brian Friel // Dancing at Lughnasa // 2011 // 0571288960, 9780571288960 // 80 pages // It is 1936 and harvest time in County Donegal. In a house just outside the village of Ballybeg live the five Mundy sisters, barely making ends meet, their ages ranging from twenty-six up to forty. The two male members of the household are brother Jack, a missionary priest, repatriated from Africa by his superiors after 25 years, and the seven-year-old child of the youngest sister. In depicting two days in the life of this menage, Brian Friel evokes not simply the interior landscape of a group of human beings trapped in their domestic situation, but the wider landscape, interior and exterior, Christian and pagan, of which they are a part. file download hecocam.pdf Brian Friel: Collected Plays - Volume 2 // This second collection of Brian Friel's work contains: The Freedom of the City (1973) Volunteers (1975) Living Quarters (1977) Aristocrats (1979) (March) Faith Healer (1979 // Drama // The Freedom of the City; Volunteers; Living Quarters; Aristocrats; Faith Healer; Translations // Jul 7, 2016 // ISBN:9780571331857 // Brian Friel // 123 pages Dancing at Lughnasa download English drama // The Freedom of the City // "Set in Londonderry in 1970, this gripping drama is by the acclaimed author of Faith Healer and Translations, explores the ongoing Irish "troubles" that plague the country to // 1974 // A Play in Two Acts // Brian Friel // 82 pages // ISBN:0573609152 Dancing English drama // Living Quarters // Brian Friel // 91 pages // ISBN:0573619107 // Jan 1, 1978 Henrik Ibsen's Hedda Gabler // 2009 // Drama // In a New Version // 80 pages // THE STORY: Hedda Gabler returns, dissatisfied, from a long honeymoon.
  • Making History

    Making History

    Retorica e Storia in Making History di Brian Friel Manfredi Bernardini to tell the best possible narrative. Isn’t that what history is, a kind of story-telling? […] Imposing a pattern on events that were mostly casual and haphazard and shaping them into a narrative that is logical and interesting. […] I’m not sure that ‘truth’ is a primary ingredient – is that a shocking thing to say? Maybe when the time comes, imagination will be as important as information. But one thing I will promise you: nothing will be put down on paper for years and years. History has to be made - before it’s remade1. Brian Friel, Making History Non sappiamo che cosa sarebbe una cultura nella quale non si sappia più che cosa significhi raccontare2. Paul Ricoeur, Tempo e Racconto Fin dalle epoche più remote le storie sono state un veicolo di trasmissione di cultura e sapere. Prima della diffusione della scrittura le antiche civiltà trasmettevano oralmente immensi patrimoni di conoscenza, affidando alle immagini dei miti e degli archetipi il compito fondamentale di perpetuare l’esperienza, la storia e l’identità stessa di un popolo. 1 Cfr. Friel, Brian, Making History, Londra, Faber and Faber, 1989: 257-258. 2 Cfr. Ricoeur, Paul, Temps et récit, Parigi, Le Seuil, 1983, trad. it. Tempo e Racconto, Milano, Jaca Book, 1994: 54.. Between, vol. III, n. 5 (Maggio/ May 2013) Manfredi Bernardini, Retorica e Storia in Making History di Brian Friel La tradizione del racconto orale, delle folk tales narrate intorno al focolare, della memoria culturale, storica (e mitica) condivisa e tramandata di generazione in generazione, costituisce un’attività in cui poeti e cantori, bardi e moderni scrittori si sono cimentati con esiti abbastanza duraturi.
  • New Articulations of Irishness and Otherness’1 on the Contemporary Irish Stage

    New Articulations of Irishness and Otherness’1 on the Contemporary Irish Stage

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  • Field Day Revisited (II): an Interview with Declan Kiberd1

    Field Day Revisited (II): an Interview with Declan Kiberd1

    Concentric: Literary and Cultural Studies 33.2 September 2007: 203-35 Field Day Revisited (II): An Interview with Declan Kiberd1 Yu-chen Lin National Sun Yat-sen University Abstract Intended to address the colonial crisis in Northern Ireland, the Field Day Theatre Company was one of the most influential, albeit controversial, cultural forces in Ireland in the 1980’s. The central idea for the company was a touring theatre group pivoting around Brian Friel; publications, for which Seamus Deane was responsible, were also included in its agenda. As such it was greeted by advocates as a major decolonizing project harking back to the Irish Revivals of the late nineteenth and early twentieth centuries. Its detractors, however, saw it as a reactionary entity intent on reactivating the same tired old “Irish Question.” Other than these harsh critiques, Field Day had to deal with internal divisions, which led to Friel’s resignation in 1994 and the termination of theatre productions in 1998. Meanwhile, Seamus Deane persevered with the publication enterprise under the company imprint, and planned to revive Field Day in Dublin. The general consensus, however, is that Field Day no longer exists. In view of this discrepancy, I interviewed Seamus Deane and Declan Kiberd to track the company’s present operation and attempt to negotiate among the diverse interpretations of Field Day. In Part One of this transcription, Seamus Deane provides an insider’s view of the aspirations, operation, and dilemma of Field Day, past and present. By contrast, Declan Kiberd in Part Two reconfigures Field Day as both a regional and an international movement which anticipated the peace process beginning in the mid-1990’s, and also the general ethos of self-confidence in Ireland today.
  • Language and Communication Strategies in Brian Friel’S Tra�Slatio�S and Da�Ci�G at Lugh�Asa”

    Language and Communication Strategies in Brian Friel’S TraSlatioS and DaCiG at LughAsa”

    FACULTADE DE FILOLOXÍA GRAO EN INGLÉS: ESTUDOS LINGÜÍSTICOS E LITERARIOS “LANGUAGE AND COMMUNICATION STRATEGIES IN BRIAN FRIEL’S TRANSLATIONS AND DANCING AT LUGHNASA” OLIVIA DANS CASTRO ANO ACADÉMICO: 2012/2013 Language and Communication Strategies… Table of contents 1. Foreword ................................................................................................................................ 3 2. Introduction ............................................................................................................................ 4 3. Author and historical background.......................................................................................... 7 4. Translations............................................................................................................................ 9 4.1 Friel and Steiner ............................................................................................................. 12 4.2 Translating the Irish ....................................................................................................... 17 4.2.1 Language and politics.............................................................................................. 24 4.2.2 Names...................................................................................................................... 26 4.2.3 Place and memory ................................................................................................... 28 4.2.4 The three Irelands...................................................................................................
  • Brian Friel's Appropriation of the O'donnell Clan

    Brian Friel's Appropriation of the O'donnell Clan

    University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 5-2008 Celtic subtleties : Brian Friel's appropriation of the O'Donnell clan. Leslie Anne Singel 1984- University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Recommended Citation Singel, Leslie Anne 1984-, "Celtic subtleties : Brian Friel's appropriation of the O'Donnell clan." (2008). Electronic Theses and Dissertations. Paper 1331. https://doi.org/10.18297/etd/1331 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. "CELTIC SUBTLETIES": BRIAN FRIEL'S APPROPRIATION OF THE O'DONNELL CLAN By Leslie Anne Singel B.A., University of Dayton, 2006 A Thesis Submitted to the Faculty of the Graduate School at the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Master of Arts Department of English University of Louisville Louisville, Kentucky May 2008 “CELTIC SUBLETIES”: BRIAN FRIEL’S APPROPRIATION OF THE O’DONNELL CLAN By Leslie Anne Singel B.A., University of Dayton, 2006 A Thesis Approved on April 9, 2008 by the following Thesis Committee: Thesis Director ii DEDICATION This thesis is dedicated to the McGarry family and to Roger Casement 111 ABSTRACT "CELTIC SUBTLETIES": BRIAN FRIEL'S APPROPRIATION OF THE O'DONNELL CLAN Leslie Anne Singel April 11, 2008 This thesis is a literary examination of three plays from Irish playwright Brian Friel, Translations, Philadelphia, Here I Come! and Aristocrats, all of which feature a family ofthe O'Donnell name and all set in the fictional Donegal village of Ballybeg.
  • Brian Friel: Titles Plays: Translations / Making History

    Brian Friel: Titles Plays: Translations / Making History

    Brian Friel: Titles This is a compilation of some of the titles submitted by centres in Summer 2009. It is not a definitive or prescriptive list of titles but it will give an idea as to different approaches to the task. Some student devised titles have not been listed as, while many have been successful due to the interest of the student, they may not be as successful if given to a class. Titles with a similar focus, but with e.g. a different location or form of writing, have been subsumed into each other to keep a concise list of approaches. Plays: Translations / Making History Flashback of Hugh O’Donnell remembering how he marched to Sligo to take part in the 1798 United Irishmen Rebellion, along with his friend Jimmy Jack Cassie. Hugh remembers that he decided to return to Ballybeg instead of going through with the rebellion. He feels a sense of shame that he did not take part in the uprising. Hugh is visited by a vision of Hugh O’Neill (from Making History). Create the scene. Write a scene in which Yolland from Translations and Mabel from Making History engage in dialogue, discussing their lives. Write a scene in which Lieutenant Yolland from Translations and Hugh O’Neill from Making History engage in dialogue and discuss their lives. Write a scene in which Lieutenant Yolland from Translations and Mabel O’Neill from Making History engage in dialogue and discuss their lives. Through having the characters of Hugh O’Donnell and Hugh O’Neill “meet”, develop a dialogue, exploring the connections and comparisons between the themes of identity, language , history which are evident in both plays.
  • 6 X 10.5 Long Title.P65

    6 X 10.5 Long Title.P65

    Cambridge University Press 978-0-521-66686-2 - The Cambridge Companion to Brian Friel Edited by Anthony Roche Frontmatter More information The Cambridge Companion to Brian Friel Brian Friel is widely recognized as Ireland’s greatest living playwright, win- ning an international reputation through such acclaimed works as Transla- tions (1980) and Dancing at Lughnasa (1990). This collection of specially commissioned essays includes contributions from leading commentators on Friel’s work (including two fellow playwrights) and explores the entire range of his career from his 1964 breakthrough with Philadelphia, Here I Come! to his most recent success in Dublin and London with The Home Place (2005). The essays approach Friel’s plays both as literary texts and as performed drama, and provide the perfect introduction for students of both English and Theatre Studies, as well as theatregoers. The collection considers Friel’s lesser-known works alongside his more celebrated plays and provides a comprehensive crit- ical survey of his career. This is the most up-to-date study of Friel’s work to be published, and includes a chronology and further reading suggestions. anthony roche is Senior Lecturer in English and Drama at University College Dublin. He is the author of Contemporary Irish Drama: From Beckett to McGuinness (1994). © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-66686-2 - The Cambridge Companion to Brian Friel Edited by Anthony Roche Frontmatter More information THE CAMBRIDGE COMPANION TO BRIAN FRIEL
  • Performative Landscapes As Conceptual Ecological Environments

    Performative Landscapes As Conceptual Ecological Environments

    Provided by the author(s) and NUI Galway in accordance with publisher policies. Please cite the published version when available. Title Re-place: performative landscapes as conceptual ecological environments Author(s) FitzGerald, Lisa Publication Date 2016-09-27 Item record http://hdl.handle.net/10379/6049 Downloaded 2021-09-26T08:24:41Z Some rights reserved. For more information, please see the item record link above. Re-Place: Performative Landscapes as Conceptual Ecological Environments. Author Lisa FitzGerald, M. Res. A dissertation submitted to English Department, School of Humanities College of Arts, Social Sciences, and Celtic Studies National University of Ireland, Galway In Partial Fulfilment of the Requirements for the Degree of Doctor of Philosophy August 2016 Supervisor Professor Patrick Lonergan Table of Contents 1) Abstract iv 2) Acknowledgements v 3) List of Illustrations vi 4) Chapter One 1.1 Thesis Introduction 1 Conceptual Ecological Environments 1 1.2 Methodology 6 Culture 9 Nature 10 1.3 Literature Review 14 Ecocriticism 16 Ecocriticism and Space and Place in Irish Studies 37 1.4 Conclusion 60 5) Chapter Two Conceptualizing the West 2.1 Introduction 63 2.2 Riders to the Sea 65 2.3 The Well of Saints 73 2.4 Druid/Synge 86 2.5 Conclusion 96 i 6) Chapter Three Beckett’s Fragmented Environments 3.1 Introduction 99 3.2 All That Fall 100 3.3 Urban Sustainability and Not I 114 3.4 Pan Pan’s Staging of Beckett’s Radio Plays 127 3.5 Conclusion 135 7) Chapter Four Conceptualizing the North 4.1 Introduction 137 4.2 Translations 142 Mapping 145 Hedge Schools 151 4.3 Exile and the North in Making History 156 4.4 Ouroboros/Making History 161 4.5 Conclusion 167 ii 8) Chapter Five Digital Environments 5.1 Introduction 172 5.2 Druid Archive as Conceptual Environment 180 5.3 The Ongoing Performativity of Digital Documentation 184 5.4 Material Networks: Contesting Ephemerality 192 5.5 Conclusion 198 9) Overall Conclusions 6.1 Introduction 200 6.2 Reflecting on Transformations: Careers.
  • Brian Friel's Translations: Confrontation of British Cultural Materialism with Culture Farough Fakhimi Anbaran MA (Hons) in English Literature Iran

    Brian Friel's Translations: Confrontation of British Cultural Materialism with Culture Farough Fakhimi Anbaran MA (Hons) in English Literature Iran

    9ROXPH,,,,VVXH9-XO\,661 Brian Friel's Translations: Confrontation of British Cultural Materialism with Culture Farough Fakhimi Anbaran MA (Hons) in English Literature Iran Abstract From the very beginning of the formation of communities people shared, at least, one common base, within that they could help them live peacefully and communicate safely and continue their lives. Culture is ubiquitous to affect human life, but cultural materialism always tends to change and adjust itself with its malevolent purposes. British cultural materialism, as one form of cultural materialism during history, affected many communities, such as those of Ireland, India, etc. to spread its territory of imperialism, but the targeted communities always confronted with effects of imperialism in different ways. Intellectuals, as an engine to these movements, have always played an important role. One of these contemporary intellectuals is Brian Friel, the Irish writer. From the very beginning of his writing career, Friel's mind was obsessed with his homeland and the occupation of it by British imperialism. He, thoughtfully, tries to reflect this issue in his plays, especially Translations which is a mirror reflecting the presence of British imperialism in Ireland, and the attempts it does to colonize Ireland from various aspects. That is why the play seems to be important from different perspectives. Using critical theory including historical-biographical, sociological, psychological, and postcolonial approaches, this study hands over and foregrounds what people should notice when they face their own and other people’s cultures in order to understand their own culture better and prevent probable problems through knowing the essence of one's own culture, one can protect it while it is being attacked by other cultures, especially by cultural materialism.
  • Dancing at Lughnasa, Dublin and New York

    Dancing at Lughnasa, Dublin and New York

    Provided by the author(s) and NUI Galway in accordance with publisher policies. Please cite the published version when available. Title Dancing on a one-way street: Irish reactions to Dancing at Lughnasa in New York Author(s) Lonergan, Patrick Publication Date 2009 Lonergan, Patrick. (2009). Dancing on a One-Way Street: Irish Publication Reactions to Dancing at Lughnasa in New York In John P. Information Harrington (Ed.), Irish theater in America : essays on Irish theatrical diaspora New York: Syracuse University Press. Publisher Syracuse University Press Link to publisher's http://www.syracuseuniversitypress.syr.edu/ version Item record http://hdl.handle.net/10379/6789 Downloaded 2021-09-27T12:30:41Z Some rights reserved. For more information, please see the item record link above. 1 Dancing on a One-Way Street: Irish Reactions to Dancing at Lughnasa in New York Brian Friel’s Dancing at Lughnasa is an important example of the inter-relationship of American and Irish theatre, particularly since 1990. Its script draws heavily on American culture, bringing us songs by Cole Porter and an approach to the narration of remembered events that is highly reminiscent of the work of Tennessee Williams. And its production was one of the first of many Irish successes on the New York stage from the 1990s onwards, being followed by productions of plays by Martin McDonagh, Conor McPherson and indeed by Brian Friel himself, whose Faith Healer was a critical and commercial success on Broadway in 2006. Dancing at Lughnasa premiered on 24 April 1990 at the Abbey Theatre, where it was directed by Patrick Mason.
  • Instead of an Obituary. Brian Friel's Silent Voices. Memory And

    Instead of an Obituary. Brian Friel's Silent Voices. Memory And

    Studi irlandesi. A Journal of Irish Studies, n. 6 (2016), pp. 11-16 DOI: http://dx.doi.org/10.13128/SIJIS-2239-3978-18452 Instead of an Obituary. Brian Friel’s Silent Voices. Memory and Celebration Giovanna Tallone Independent scholar (<[email protected]>) On the occasion of Brian Friel’s eightieth birthday in 2009, Seamus Heaney published a slender volume called Spelling It Out, whose aim was to honour and celebrate the playwright and to mark a long-standing friendship. Taking the letters of Friel’s name and surname in a game with words and language, Heaney created a sort of microcosm of Friel’s world. Starting with B, for Ballybeg, “the invented domain where so many of Brian’s plays are set, the hub of his imagined world” (Heaney 2009, [3]), the poet moves on to I “for in- tegrity”, but also for “Ireland” and for “intimacy”, thus mixing the public and the personal, “the inner self, the mysterious source and living of being” ([5]). At the same time this is a reminder of the stage directions in Philadelphia, Here I Come! (1964), where Gar O’Donnell is split between Public Gar and Private Gar, the latter being “the unseen man, the man within, the alter ego, the se- cret thoughts, the id” (Friel 1984, 27). Words like “no”, “fiction”, “experiment”, “love” and “language” are likewise entered in what Heaney defines “not so much an abecedary as a befrielery” ([1]), in an interplay of public and private levels. The death of Brian Friel on October nd2 2015 followed Heaney’s death about two years earlier, which meant the loss of two of the deepest, most eminent and most provocative voices in Irish literature and culture, whose echoes resound in the second half of the twentieth century and into the twen- ty-first.