“So [the] play should grow in joyousness”

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’.

“So we silence the tongue and let the whole body speak....” – Brian Friel

The Creative Process

Double exposures

This collaborative practice-based research project has had an impact not only on the artistic practices of its creative leads but also on the scholarly practice of its academic researcher.

“Dancing as release and entrance to suppressed + almost forgotten truths” – Brian Friel

The Creative Process

Robbie Blake's blue notebook, 6

In these pages from Robbie Blake’s project notebooks, Robbie makes notes from a discussion with Jessie Keenan and Zosia Kuczyńska in which Zosia shares some of her research around theatrical space.

The Creative Process

Jessie Keenan notes, 2

In this extract from Jessie Keenan’s project notes, Jessie is considering ideas that emerged from group discussions.