The sacred core of the play.
This note was written by Brian Friel during the composition process for Dancing at Lughnasa (1990). Friel often referred to what he called the ‘core’ of a given play, which, once established, would be a leading factor in determining the play’s form.
From MS 37,104/1, National Library of Ireland; copyright Brian Friel Estate, reproduced by permission.
How can Michael Gerry be incorporated into and refashioned by the what is the sacred core of the play?
He must be more than simply the man who tells the story of his family.
21 July 1989.
– It’s Gerry!
– He’ll fix the radio. He’s so wizard.
Friel's creative process
Friel scholar Zosia Kuczyńska gives an overview of some of the distinctive features of playwright Brian Friel’s creative process as revealed by his literary archives at the National Library of Ireland.
Don't think in elegiac tones.
In this note, we see the reappearance of Friel’s mantra: ‘Don’t anticipate the ending.’
Mixed interview, extract 2
Zosia Kuczyńska, Jessie Keenan, and Robbie Blake talk about their own scholarly and artistic processes and how they intersect with Friel’s creative practice.
Jessie Keenan notes, 5
In this extract from Jessie Keenan’s project notes, Jessie maps out a version of how she visualises the different stages of collaboration in the life of a live performance work.