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Conor Mcpherson 88 Min., 1.85:1, 35Mm
Mongrel Media Presents THE ECLIPSE A film by Conor McPherson 88 min., 1.85:1, 35mm (88min., Ireland, 2009) www.theeclipsefilm.com Distribution Publicity Bonne Smith 1028 Queen Street West Star PR Toronto, Ontario, Canada, M6J 1H6 Tel: 416-488-4436 Tel: 416-516-9775 Fax: 416-516-0651 Fax: 416-488-8438 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com High res stills may be downloaded from http://www.mongrelmedia.com/press.html SYNOPSIS THE ECLIPSE tells the story of Michael Farr (Ciarán Hinds), a teacher raising his two kids alone since his wife died two years earlier. Lately he has been seeing and hearing strange things late at night in his house. He isn't sure if he is simply having terrifying nightmares or if his house is haunted. Each year, the seaside town where Michael lives hosts an international literary festival, attracting writers from all over the world. Michael works as a volunteer for the festival and is assigned the attractive Lena Morelle (Iben Hjejle), an author of books about ghosts and the supernatural, to look after. They become friendly and he eagerly tells her of his experiences. For the first time he has met someone who can accept the reality of what has been happening to him. However, Lena’s attention is pulled elsewhere. She has come to the festival at the bidding of world-renowned novelist Nicholas Holden (Aidan Quinn), with whom she had a brief affair the previous year. He has fallen in love with Lena and is going through a turbulent time, eager to leave his wife to be with her. -
Interweaving the Local and the Global in Conor Mcpherson’S the Weir
International Journal of Management and Applied Science, ISSN: 2394-7926 Volume-3, Issue-7, Jul.-2017 http://iraj.in INTERWEAVING THE LOCAL AND THE GLOBAL IN CONOR MCPHERSON’S THE WEIR MAHA ALATAWI School of English, drama, and Film Email: [email protected] Abstract- Focusing on the Irish playwright Conor McPherson’s the Weir, this paper explores how late- twentieth and early twenty-first century Irish drama – set within local places and shaped by the role of the supernatural – offers new ways in which to consider the relations between the national and the global. McPherson’s plays represent the interests of Ireland in specific time periods and places but have broader meaning and significance as they offer insight into the human condition. History and the supernatural are prevalent themes of McPherson’s works – he incorporates older traditions of ghost stories and storytelling – yet places them in a modern world. This paper argues for a realism that is grounded in the wider recognition of changing global, social and cultural conditions. Yet within these, certain human weaknesses and behavioural patterns remain static. In The Ethos of a Late-Modern Citizen, White suggests that changing democratic trends in Western societies asks for us to re-examine our role as citizens. White frames his theoretical approach by asking ‘what sort of "characteristic spirit" or "sentiment" should we be trying to cultivate as we seek to confront the deep challenges of late- modern life?’; citizens and minds of the future can no longer be inward looking or inward focused, but equally, as McPherson suggests in his plays, citizens rely on the personal associations and past experiences in order to forge an identity. -
Critical Acclaim for the Seafarer
B e t w e e n T h e Between The Lines: Vol II Issue I 2008 Background on The Seafarer The Seafarer, like many of McPherson’s plays is set in In a candid interview with American Theatre Ireland, specifically in Baldoyle, a coastal town north Magazine, McPherson describes the moment of of Dublin. The play centers on Sharky, an alcoholic inspiration for The Seafarer: who returns home to care for his aging brother, Richard, who recently went blind. They are joined “The journey of The Seafarer was a long one for by Sharky’s friends Ivan and Nicky who are holed up me. There’s this monument in Ireland… a 5,000- in the basement of Richard’s home during a severe year-old tomb called Newgrange. It’s got a long storm. The friends’ poker game is interrupted by the tunnel with a little hole in the middle of it and arrival of a mysterious friend, Mr. Lockhart who raises on the winter solstice each year; the sun shines the stakes of the game damningly high. directly down that chamber and lights it up — on the darkest day of the year. That image was… so The Seafarer opened at the National Theatre in 2006 simple, spiritual, amazing. I wanted to write a play garnering the Olivier-Award for Best Play before that had that moment… that darkest moment, moving to Broadway in December 2007. One of the darkest day of the year, where at the end the most acclaimed plays of last season, the show ran a light comes in.” brief 133 performances at the Booth Theatre before becoming one of several casualties due to the stage- hands strike that closed nearly all Broadway shows for weeks. -
Irish Film Institute What Happened After? 15
Irish Film Studyguide Tony Tracy Contents SECTION ONE A brief history of Irish film 3 Recurring Themes 6 SECTION TWO Inside I’m Dancing INTRODUCTION Cast & Synopsis 7 This studyguide has been devised to accompany the Irish film strand of our Transition Year Moving Image Module, the pilot project of the Story and Structure 7 Arts Council Working Group on Film and Young People. In keeping Key Scene Analysis I 7 with TY Guidelines which suggest a curriculum that relates to the Themes 8 world outside school, this strand offers students and teachers an opportunity to engage with and question various representations Key Scene Analysis II 9 of Ireland on screen. The guide commences with a brief history Student Worksheet 11 of the film industry in Ireland, highlighting recurrent themes and stories as well as mentioning key figures. Detailed analyses of two films – Bloody Sunday Inside I'm Dancing and Bloody Sunday – follow, along with student worksheets. Finally, Lenny Abrahamson, director of the highly Cast & Synopsis 12 successful Adam & Paul, gives an illuminating interview in which he Making & Filming History 12/13 outlines the background to the story, his approach as a filmmaker and Characters 13/14 his response to the film’s achievements. We hope you find this guide a useful and stimulating accompaniment to your teaching of Irish film. Key Scene Analysis 14 Alicia McGivern Style 15 Irish FIlm Institute What happened after? 15 References 16 WRITER – TONY TRACY Student Worksheet 17 Tony Tracy was former Senior Education Officer at the Irish Film Institute. During his time at IFI, he wrote the very popular Adam & Paul Introduction to Film Studies as well as notes for teachers on a range Interview with Lenny Abrahamson, director 18 of films including My Left Foot, The Third Man, and French Cinema. -
Interweaving the Local and the Global in Conor Mcpherson’S the Weir
INTERWEAVING THE LOCAL AND THE GLOBAL IN CONOR MCPHERSON’S THE WEIR MAHA ALATAWI School of English, drama, and Film Email: [email protected] Abstract: Focusing on the Irish playwright Conor McPherson’s the Weir, this paper explores how late- twentieth and early twenty-first century Irish drama – set within local places and shaped by the role of the supernatural – offers new ways in which to consider the relations between the national and the global. McPherson’s plays represent the interests of Ireland in specific time periods and places but have broader meaning and significance as they offer insight into the human condition. History and the supernatural are prevalent themes of McPherson’s works – he incorporates older traditions of ghost stories and storytelling – yet places them in a modern world. This paper argues for a realism that is grounded in the wider recognition of changing global, social and cultural conditions. Yet within these, certain human weaknesses and behavioural patterns remain static. In The Ethos of a Late-Modern Citizen, White suggests that changing democratic trends in Western societies asks for us to re-examine our role as citizens. White frames his theoretical approach by asking ‘what sort of "characteristic spirit" or "sentiment" should we be trying to cultivate as we seek to confront the deep challenges of late- modern life?’; citizens and minds of the future can no longer be inward looking or inward focused, but equally, as McPherson suggests in his plays, citizens rely on the personal associations and past experiences in order to forge an identity. Keywords: Irish Drama and Theatre – globalisation – realism – storytelling – the supernatural INTRODUCTION sense of the collective and the change they go through during the course of the play. -
DISSERTATION Final
“We've All To Grow Old”: Representations of Aging as Reflections of Cultural Change on the Celtic Tiger Irish Stage DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy In the Graduate School of The Ohio State University By Christopher Austin Hill B.A., M.A. Graduate Program in Theatre History, Literature, Criticism The Ohio State University 2013 Dissertation Committee: Chair: Dr. Joy Reilly Dr. Jennifer Schlueter Dr. Ray Cashman Copyright by Christopher Austin Hill 2013 Abstract This dissertation discusses the work of four Irish playwrights: Sebastian Barry, Marina Carr, Conor McPherson, and Elaine Murphy. Specifically, it investigates the inclusion, by these playwrights, of “elderly” characters in their plays written between 1995 and 2010—a period of economic and cultural change known as the “Celtic Tiger.” This study argues that the way that aging and senescence—defined jointly as the process of aging and as the state of being “aged”—are represented on stage reveals a broader cultural negotiation of “new” and “old” Ireland. Into their representations of “old” characters, the playwrights discussed here have embedded a reflection of destabilized cultural narratives, which resulted from intense societal change in Ireland. ii Dedication This dissertation is dedicated to my wife Allison and to my amazing children. Without them, this work would have been impossible. Their unfailing support and love were a constant force of strength, which drove me throughout my research. Thank you—I love you. iii Acknowledgments There are many people who I wish to thank, and far too little space in which to do it. -
***Shining City*** Press Release
588 Sutter Street #318 San Francisco, CA 94102 415.677.9596 fax 415.677.9597 www.sfplayhouse.org PRESS RELEASE VENUE: 533 Sutter Street, @ Powell For immediate release Contact: Susi Damilano September 4, 2008 [email protected] ***SHINING CITY*** BY CONOR MCPHERSON DIRECTED BY AMY GLAZER Opens (Press Night) October 4 through November 22, 2008 Previews October 1, 2 and 3 San Francisco, CA (September 2008) – The SF Playhouse (Bill English, Artistic Director; Susi Damilano, Producing Director) is pleased to launch its 2008-09 season with the Bay Area Premiere of Shining City by Conor McPherson. Amy Glazer will direct. Shining City opened on Broadway in 2006 where it received two Tony Award nominations, including Best Play and prompted the London Telegraph to describe Conor McPherson as 'the finest dramatist of his generation...’. Set in present-day Dublin a man seeks help from a counselor, claiming to have seen the ghost of his recently deceased wife. However, what begins as just an unusual encounter becomes a struggle between the living and dead-a struggle that will shape and define both men for the rest of their lives. In this contemporary ghost story, Conor McPherson explores what it means to lose faith-in God, in relationships and in one's self. The cast features former Artistic Director of Santa Cruz Shakespeare Festival, Paul Whitworth*, Alex Moggridge*, Beth Wilmurt and Alex Conde.*Courtesy of Actor’s Equity. Conor McPherson (Playwright) Born in Dublin and educated at University College Dublin, McPherson began writing his first plays there as a member of UCD Dramsoc, the college's dramatic society, and went on to found Fly by night theatre company which produced several of his plays. -
Paddy Breathnach Director
Paddy Breathnach Director Paddy Breathnach started his directing career making natural history documentaries. His first feature, AILSA, won the Award for Best First / Second Film at the San Sebastian Film Festival. His second feature I WENT DOWN (BBC Films) starring Brendan Gleeson, won the New Directors prize at the San Sebastian Film Festival 1997. I WENT DOWN screened at Sundance in 1998 and won the Best Director award at both Thessaloniki and Bogota Film Festivals. He produced SOUTHPAW, a feature documentary that was selected for Sundance in 1999 and got a US and UK theatrical release. Breathnach went on to direct BLOW DRY, MAN ABOUT DOG, SHROOMS and RED MIST. In 2012 he completed the documentary AN OICHE A GINEADH M'ATHAIR. In 2016 his Spanish language film VIVA was short listed for the Academy Award for Best Foreign Language Film. His latest film, ROSIE, premiered at the 2018 Toronto International Film Festival and was released in the UK in March 2019. He’s a board member of The Screen Director’s Guild of Ireland. Agents Sean Gascoine Associate Agent Amy Sparks [email protected] +44 (0) 20 3214 0946 Credits Film Production Company Notes ROSIE Element Written by Roddy Doyle. Rosie had its World Premiere at the 2019 Pictures/IFB 2018 Toronto International Film Festival United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Company Notes VIVA Treasure Written by Mark O'Halloran, VIVA Premiered at Telluride Film 2015 Entertainment Festival 2015 and screened at the Busan Film Festival 2015 as part of EFP's Opening Doors section. -
Redalyc.CONOR MCPHERSON's the SEAFARER: TINKERING with TRADITION
Ilha do Desterro: A Journal of English Language, Literatures in English and Cultural Studies E-ISSN: 2175-8026 [email protected] Universidade Federal de Santa Catarina Brasil Ferreira da Rocha, Roberto CONOR MCPHERSON’S THE SEAFARER: TINKERING WITH TRADITION Ilha do Desterro: A Journal of English Language, Literatures in English and Cultural Studies, núm. 58, enero-junio, 2010, pp. 358-380 Universidade Federal de Santa Catarina Florianópolis, Brasil Available in: http://www.redalyc.org/articulo.oa?id=478348696017 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Conor McPherson's The Seafarer:... 357 CONOR MCPHERSON’S THE SEAFARER: TINKERING WITH TRADITION Roberto Ferreira da Rocha Universidade Federal do Rio de Janeiro Everything here is shame and reproach: Satan saying that the fire is worthless, that my anger is ridiculous and silly. (Arthur Rimbaud, A Season in Hell, Translated by Paul Schmidt) Abstract: A reading of The Seafarer (2007), the last published play by the Irish playwright Conor McPherson (1971- ), which aims to investigate the rich intertextuality that the work presents. The text echoes both canonic and popular renderings of the Faustian myth, those of Christopher Marlowe (c. 1564-1593) and Johann Wolfgang Goethe (1749-1832), as well as its folk rewritings. In The Seafarer McPherson conveys a complex portrait of a group of Irish working-class mates, who are enthralled in existential and gender conflicts. In this his fourth full-length ensemble play to reach both the London West End and New York Broadway (the first being The Weir of 1999) McPherson critically dialogues with the modernist and post- modernist dramatic tradition mainly through the works of John Middleton Synge (1871-1909), Samuel Beckett (1906-1989), Harold Pinter (1930- Ilha do Desterro Florianópolis nº 58 p. -
Dublin Carol
The following pack provides some production background and context as well as providing you with the tools to answer an exam question on the technical elements of this production. There are both practical and academic questions within this – please be safe when completing the practical exercises. Production Creatives Page 3 Reviews Previous Work Page 4 Character List And Plot Summary Page 5 About The Playwright Page 6 Director’s And Designers Thoughts On The Production Page 7 Design Elements - Vocabulary Page 9 Introduction To Design - Exercises Page 10 Extract From Dublin Carol Page 12 Starting To Design (1) – Costume And Set Page 13 Starting To Design (2) – Sound And Lighting Page 14 ANALYSIS OF A PRODUCTION IN PERFORMANCE Page 15 Analysis Of A Scene In Performance Page 16 Some Suggested Lighting Gel Colours And Practicals Page 20 Page 2 of 20 This pack was created by Sherman Theatre for Dublin Carol For more information contact [email protected] Conor McPherson – Writer McPherson was born in Dublin in 1971. He began writing whilst at University College Dublin. In 2013 UCD awarded an honorary Doctorate in Literature His 1999 play, The Weir opened at the Royal Court before transferring to the West End and Broadway; in the process winning the Olivier Award for Best New Play. He made his National Theatre debut as both writer and director with The Seafarer, in 2006. His screenplays include I Went Down, Saltwater, The Actors and The Eclipse (The last three he also directed). The Donmar Warehouse’s 2013 season of McPherson's work saw the world premiere of The Night Alive, which went on to win the New York Drama Critics Circle Award for Best Play. -
The Eclipse Which Screened in Competition at Tribeca Film Festival Winning Best Actor for Ciaran Hinds
Bord Scannán na hÉireann / Irish Film Board, Windmill Lane Pictures and RTÉ present A Treasure Entertainment Production Viva 100 mins. • 2015 • Ireland PRODUCTION CO. PUBLICITY Treasure Entertainment Nell Roddy The Copper House Element Pictures Distribution St Kevin’s Cottages 21 Mespil Road Dublin 8 Dublin 4 Phone: +353 1 4758820 Phone: +353 1 6185032 [email protected] / [email protected] Email: [email protected] Viva Directed by Paddy Breathnach Screenplay by Mark O’Halloran Produced by Rebecca O’Flanagan, Robert Walpole Executive Producer Benicio Del Toro Producer Cathleen Dore, Nelson Navarro Navarro Co-Producer Claire McCaughley, Sarah Gunn Director of Photography Cathal Watters Film Editor Stephen O’Connell Production Designer Paki Smith Costume Designer Sofia Marques Hair & Make-up Designer Edwing Ramírez Casting Director Libia Batista Music by Stephen Rennicks Principal Cast Angel Jorge Perugorría Mama Luis Alberto García Jesus Héctor Medina Cindy Luis Manuel Álvarez Pamela Renata (Maikel Machín Blanco) Cecilia Laura Alemán 2 Logline: When everything is for sale, what’s the value of love? Synopsis: VIVA stars Héctor Medina as Jesus, a hairdresser for a troupe of drag performers in Havana, who dreams of being a performer. Encouraged by his mentor, Mama (Luis Alberto García), Jesus finally gets his chance to take the stage. But when his estranged father Angel (Jorge Perugorría) abruptly renters his life, his world is quickly turned upside down. As father and son clash over their opposing expectations of each other, VIVA becomes a love story as the men struggle to understand one another and reconcile as a family. Set in contemporary Cuba, Viva is a tender love story of a father and a son struggling to escape from opposing expectations, duty and the burden of past sins. -
Catalogue1516.Pdf
Catalogue of New Plays 2015–2016 © 2015 Dramatists Play Service, Inc. Dramatists Play Service, Inc. A Letter from the President Dear Subscriber: Once again, the Play Service is delighted to have all of this year’s Tony nominees for Best Play. The winner, Simon Stephens’ THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME, based on Mark Haddon’s best-selling novel, is a thrilling and emotional journey into the mind of an autistic boy. We acquired Ayad Akhtar’s Pulitzer Prize- winning play DISGRACED after its run at Lincoln Center, and we are also publishing his plays THE WHO & THE WHAT and THE INVISIBLE HAND. Robert Askins’ subversive, hilarious play HAND TO GOD introduced this young American writer to Broadway, and the Play Service is happy to be his first publisher. Rounding out the nominess are Mike Poulton’s dazzling adaptations of Hilary Mantel’s WOLF HALL novels. THIS IS OUR YOUTH by Kenneth Lonergan and perennial favorite YOU CAN’T TAKE IT WITH YOU by Kaufman and Hart were nominated for Best Revival of a Play. We have our 45th Pulitzer Prize winner in the moving, profane, and deeply human BETWEEN RIVERSIDE AND CRAZY, by Stephen Adly Guirgis, which is under option for Broadway production next season. Already slated for Broadway is Mike Bartlett’s “future history” play, KING CHARLES III, following its hugely successful production in the West End. Bess Wohl, a writer new to the Play Service, received the Drama Desk Sam Norkin Off-Broadway Award. We have her plays AMERICAN HERO and SMALL MOUTH SOUNDS.