The Brian Friel Papers

At least it is a starting point.

In this note, dated 19 May 1989, Friel was struggling to choose a time period for Dancing at Lughnasa (1990). In the end, he decided to go with his intuition, reasoning that all starting points are ‘arbitrary’ before they become ‘an essence’.

From MS 37,104/1, National Library of Ireland; copyright Brian Friel Estate, reproduced by permission.

Transcription

18 May 1989.

Father seems to be – becoming very close in appearance to Ray McBride (as in Mr Roche) with that chirpy and defeated air, the side-burns, and – of course – the dancing.

Father v Mother would be another version of City v Rural.

19 May 1989.

A basic decision would be to settle on a time: –

Before or after the war?

a Thirties sound or a Forties sound? 1936–1937

OR EVEN A TWENTIES SOUND – why not?

because if there is a child, will he be under 10 or over 10?

SO Sound, dress, time, attitudes – they all make up this distinctive pattern.

My intuition – just grab a date out of the air – is 1934.

At least it is a starting point. And all starting points are arbitrary – and then become an essence.

The Creative Process

Filming 'Running the Ending', 18 April 2021

These photographs were taken by Jessie Keenan during and between filming sessions for Robbie Blake’s short film ‘Running the ending’ at the Museum of Literature Ireland on 18 April 2021.

“And all starting points are arbitrary – and then become an essence.” – Brian Friel

Related Manuscript

Let it drift as it wishes.

In this note towards Dancing at Lughnasa (1990), we can see Friel reminding himself of the need to allow the play to develop freely without becoming bogged down with preconceived ideas of form.