Coda: Tom Murphy and Brian Friel

Author(s):  
Patrick Lonergan
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Author(s):  
Shelley Troupe

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.


Author(s):  
Anthony Roche

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).


2020 ◽  
Vol 50 (2) ◽  
pp. 319-336
Author(s):  
Zosia Kuczyńska

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.


1996 ◽  
Vol 21 (2) ◽  
pp. 97-110 ◽  
Author(s):  
Jacques Tranier
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1992 ◽  
Vol 22 ◽  
pp. 363
Author(s):  
W. A. Johnsen ◽  
George O'Brien
Keyword(s):  

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