Tom Murphy at the Dublin Theatre Festival

2002 ◽  
Vol 10 (1) ◽  
pp. 79-81
Keyword(s):  
Tom Murphy

An interview with Tom Murphy

2004 ◽  
Vol 12 (2) ◽  
pp. 233-240 ◽  
Author(s):  
Mária Kurdi
Keyword(s):  
Tom Murphy

scholarly journals « Pauvres enfants d’Ève en exil » : Tom Murphy et la syntaxe de l’histoire

2010 ◽  
pp. 72-84
Author(s):  
Paul Murphy
Keyword(s):  
Tom Murphy

Dans les pièces Bailegangaire (1985) et A Thief of a Christmas (1985), Tom Murphy aborde des questions liées à la représentation des Irlandaises d’origine rurale, opprimées par un système social hiérarchique d’abord sous le gouvernement colonial britannique et, ensuite, sous le gouvernement postcolonial nationaliste, catholique et bourgeois. Paul Murphy soutient que Tom Murphy crée dans ses pièces des lieux où les discours réprimés peuvent s’exprimer et contredire l’histoire dite « officielle » qui émane d’un discours nationaliste catholique bourgeois. Ce chercheur dépasse la vision prédominante du théâtre irlandais centrée sur la question identitaire pour aborder plutôt des questions éthiques liées à la subordination des classes. Il participe ainsi au débat contemporain historiographique en Irlande autour du rapport antagoniste qui oppose le nationalisme et le révisionnisme.

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).

The Work of a ‘Young Nationalist’?: Tom Murphy's The Patriot Game and the Commemoration of Easter 1916

2015 ◽  
Vol 45 (1) ◽  
pp. 39-53
Author(s):  
Shaun Richards
Keyword(s):  
Northern Ireland ◽  
Fiftieth Anniversary ◽  
Main Stage ◽  
Armed Struggle ◽  
The Troubles ◽  
Easter Rising ◽  
Tom Murphy ◽  
Contemporary Writers

In 1965 Tom Murphy was commissioned by BBC Television to write a play, The Patriot Game, to be broadcast in the following year on the occasion of the fiftieth anniversary of the Easter Rising. However, it was finally not made as the estimated cost of the production exceeded the allocated budget. The play remained unseen, until twenty-five years later Murphy revised the work for a stage production on the occasion of the seventy-fifth anniversary of the Rising in 1991. This essay analyzes the two versions of The Patriot Game within the context of very different moments of commemoration; the first at a time of national redefinition when the Irish state used the event as part of its modernization agenda, and the second when the Troubles in Northern Ireland problematized any public commemoration of armed struggle in the pursuit of political aims. It examines how Murphy's 1991 version of his play went against the tendency of contemporary writers whose attitude to the Rising was one of rejection or derision and, in particular, compares the production of The Patriot Game with the Garry Hynes's production of The Plough and the Stars which was on the Abbey's main stage while Murphy's play occupied the smaller space of the Peacock.

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