Coda: Tom Murphy and Brian Friel

2020 ◽  
pp. 201-208
Author(s):  
Patrick Lonergan
Keyword(s):  
Brian Friel ◽  
Tom Murphy

From Druid/Murphy to

2016 ◽  
Author(s):  
Shelley Troupe
Keyword(s):  
Early Years ◽  
Irish Theatre ◽  
Brian Friel ◽  
Theatre Company ◽  
Tom Murphy ◽  
The Relationship

During the same years that Brian Friel was associated with Field Day, Tom Murphy began working closely with the Galway-based Druid Theatre company. In its early years, Druid had established its reputation primarily with productions of Synge’s work; however, beginning in the mid-1980s, the company began to work closely with Murphy, whoseBailegangairewould be one of the most important plays of the decade. The association between writer and company culminated in 2012 with the DruidMurphy cycle, a production of three of Murphy’s major plays that toured internationally to critical acclaim. Examining the plays, their production and marketing, this chapter explores the relationship between the playwright and the company, as it went through a series of distinct phases, leading to DruidMurphy, one of the most important Irish theatre events of its time.

Brian Friel and Tom Murphy

2016 ◽  
Author(s):  
Anthony Roche
Keyword(s):  
Social Context ◽  
Irish Theatre ◽  
Faith Healer ◽  
Brian Friel ◽  
Tom Murphy

Irish theatre since 1960 has been dominated by the work of major playwrights, above all Brian Friel and Tom Murphy. The changing social context of Ireland in the early 1960s out of which both writers emerged within a few years of one another is evident in their breakthrough plays, Murphy’sA Whistle in the Dark(1961) and Friel’sPhiladelphia, Here I Come!(1964). In these plays, as inThe Loves of Cass Maguire(1966) andA Crucial Week in the Life of a Grocer’s Assistant(1969), Murphy and Friel devised new dramatic forms to explore the mentality of exile generated by the phenomenon of mass emigration. Exile is then transposed into a spiritual or metaphysical condition in two later plays,The Sanctuary Lamp(1975) andFaith Healer(1979).

‘A disoriented vision of … fact’: Brian Friel, Francis Bacon, and Faith Healer

2020 ◽  
Vol 50 (2) ◽  
pp. 319-336
Author(s):  
Zosia Kuczyńska
Keyword(s):  
Creative Process ◽  
Francis Bacon ◽  
Major Influence ◽  
Artistic Practice ◽  
Archival Research ◽  
Faith Healer ◽  
Brian Friel ◽  
History Of ◽  
Composition Process

The Brian Friel Papers at the NLI reveal a long and relatively unexplored history of major and minor influences on Friel's plays. As the archive attests, these influences manifest themselves in ways that range from the superficial to the deeply structural. In this article, I draw on original archival research into the composition process of Friel's genre-defining play Faith Healer (1979) to bring to light a model of influence that operates at the level of artistic practice. Specifically, I examine the extent to which Friel's officially unacknowledged encounter with a book of interviews with painter Francis Bacon influenced the play in terms of character, language, and form. I suggest that Bacon's creative process – incorporating his ideas on the role of the artist, the workings of chance, and the extent to which art does violence to fact – may have had a major influence on both the play's development and on Friel's development as an artist.

Brian Friel, dramaturge postmoderne

1996 ◽  
Vol 21 (2) ◽  
pp. 97-110 ◽  
Author(s):  
Jacques Tranier
Keyword(s):  
Brian Friel

Brian Friel

1992 ◽  
Vol 22 ◽  
pp. 363
Author(s):  
W. A. Johnsen ◽  
George O'Brien
Keyword(s):  
Brian Friel
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