Index
About the Project
- “And all starting points are arbitrary – and then become an essence.”
- WhatsApp exchange
- The body and the archive
- Friel's creative process
- What is an archive?
- Behind the scenes
- Mixed interview, extract 1
- Mixed interview, extract 2
- Mixed interview, extract 3
- Mixed interview, extract 4
- Mixed interview, extract 5
- Mixed interview, extract 6
- Mixed interview, extract 7
- “So we silence the tongue and let the whole body speak....”
- “But this nagging idea of Dance [. . .] persists.”
- “Dance as memory – dance as dream-memory, dance as substitute for language, dance as worship.”
- “At least it is a starting point. And all starting points are arbitrary – and then become an essence.”
- “If dancing is the alternative to language, has language been inadequate for these people? Has language failed these people? Has language betrayed these people?”
- “A line on a page isn’t a solemn commitment.”
- “So what is surfacing: –”
- “Dancing as release and entrance to suppressed + almost forgotten truths”
- “Has the play its own reality?”
- “Is the play about this?”
- “Now is it coming together?”
- “So [the] play should grow in joyousness”
- “What is vaguely forbidden? What is taboo?”
- “Is this vague notion above somehow close to the core of the play?”
- “don’t corset it with preconceived ideas of form”
- “How do you archive the moving body?”
- “A legacy is not a thing that you set in stone, it's something that you can put in motion.”
- “It felt very intimate to have a view into the way in which he was thinking about things.”
- “The phrase ‘don't anticipate the ending’ means ‘stay present’.”
- “Dig back to move forward more clearly.”
- “In some ways I've been looking into archives without even giving it a name.”
- Exhibition map, 31 August 2021
The Brian Friel Papers
- Don't anticipate the ending
- It doesn't matter if the rains come
- The sacred core of the play.
- this nagging idea of Dance
- Don't think in elegiac tones.
- Has language failed these people?
- Let it drift as it wishes.
- So what is surfacing
- Structure the ages.
- Has the play its own reality?
- Is the play about this?
- Now is it coming together?
- should grow in joyousness
- What is vaguely forbidden?
- Michael's monologue
- the notion of something forbidden
- At least it is a starting point.
New Work
The Creative Process
- Running the ending (work in progress)
- The Groove
- Robbie Blake's transcription of Friel's markings
- So what is surfacing, 25 March 2021
- Rehearsal, 14 August 2020
- Rehearsal, 3 September 2020
- Double exposures
- Filming 'Running the Ending', 18 April 2021
- Recording at MoLI, 30 April 2021
- Dance House, 11 August 2020
- Dance House, 13 August 2020
- Dance solos, 31 August 2020
- Dance House, 3 September 2020
- Robbie Blake's blue notebook, 1
- Robbie Blake, preliminary score
- Belfast Book Festival Trailer
- Lucia Kickham, 'Dance is...'
- So what is surfacing (Dublin Fringe Festival application)
- So what is surfacing, original improvisation
- So what is surfacing (rehearsal), 25 February 2020
- Running the Ending, UCD Humanities Institute
- Robbie Blake's blue notebook, 2–4
- Robbie Blake's blue notebook, 5
- Robbie Blake's blue notebook, 6
- Robbie Blake's blue notebook, 7
- Robbie Blake's blue notebook, 8
- Robbie Blake's blue notebook, 9
- Jessie Keenan notes, 1
- Jessie Keenan notes, 2
- Jessie Keenan notes, 3
- Jessie Keenan notes, 4
- Jessie Keenan notes, 5
- Jessie Keenan notes, 6
- Jessie Keenan notes, 7
- Now is it coming together?
- Jessie Keenan interview, extract 1
- Jessie Keenan interview, extract 2
- Robbie Blake interview, extract 1
- Task Sheet, 14 April 2020
- Jessie Keenan's questions
- Robbie Blake, Denis Donoghue-inspired score
- Robbie Blake, 'Running the ending' score
- Running the Ending Compilation (Dublin Fringe Festival application)
