Life
1929- ; [Brian Patrick O’Friel; Bernard Patrick Friel resp. in parish
and civic records]; b. 9 Jan. [vars. 5, 10 Jan.], Kilclogher, nr. Omagh,
Co. Tyrone, son of schoolmaster from Derry city, his mother Christina [née McLoone] being a postmistresss
from the Glenties, Co. Donegal; erroneously registered as Bernard Patrick
Friel and also as O’Friel; f. appointed teacher at Long Tower School,
Derry,1939; ed., at his father’s school and later at St. Columb’s
College, Derry; proceeded to Maynooth, 1948-51 [36 months], finding it
a ‘very disturbing experience’; entered St. Joseph’s Teacher
Training Coll., Belfast; became Derry school-teacher 1950-60 [var. 1956-60];
m. Ann Morrison, 1954, with whom four dgs. and a son; became fulltime
writer in 1960; many early stories in New Yorker; also wrote for
BBC; invited by Tyrone Guthrie to spend three months at his new theatre
at Minneapolis, early 1963, observing the reheasral of Hamlet and
Chekhov's Three Sisters, leading to his writing Philadelphia,
Here I Come! on his return (‘those months in America gave me
a sense of liberation [...] my first parole from inbred claustrophobic
Ireland’); Philadephia played in Dublin Theatre Festival at
the Gaiety in 1964; Friel formally left the Nationalist Party (NI) in
1967; stories issued as The Saucer of Larks (1962), set in Glennafushog,
and The Gold in the Sea (1966); his plays, chiefly premiered at
the Abbey, are The Enemy Within (Abbey 1962), dealing with exile
of St Columba, also produced for television with Tom Fleming in the title-role;
Philadelphia, Here I Come! (1964), on emigration; winner of Macaulay
Fellowship; appt. Abbey shareholder, 1965; The Loves of Cass McGuire
(1966), on emigration; Lovers (1967); contrib. ‘The Theatre of Hope and Despair’ to Everyman (No. 1, 1968); Crystal and Fox (1968);
The Mundy Scheme (Olympia Th., Dublin 1969), a satire on the new
Irish bourgeoisie concerning the sale of the West of Ireland for graveyards,
first offered to the Abbey; Philadelphia filmed by John Quested,
1970; The Gentle Island (1971); was present at Bloody Sunday Civil
Rights March, 30th Jan. 1972; wrote The Freedom of the City (1973),
dealing with the events in which Michael, Lily and Skinner, three squatters
in the Guildhall, are mown down by the Army and the subsequent inquest,
with alternate voices of the victims and their killers as well as interludes
provided by a drunken ballad singer; written in response to direct experience
of Bloody Sunday (Derry, 30 Jan. 1972); contrib. ‘Self-Portrait’ to Aquarius (No. 5, 1972); contrib. ‘Plays Peasant and Unpeasant’ to Times Literary Supplement (17 March 1972); Philadelphia successfully revived (Dublin Theatre Fest., 1972); Volunteers (1975); Farewell
to Ardstraw and The Next Parish (1976); Living Quarters
(1977) [subtitled ‘after Hyppolytus’], ending with Living
Quarters, ending with the suicide of Frank Butler, returned from UN service
in the Middle East, on learning of his wife’s adultery his own son
[her step-son]; Aristocrats (Abbey, 8 March 1979); Faith Healer
(Abbey 1979), narrating the death of the title-character Frank Hardy at
the hands of a wedding crowd on his return to Donegal, and enacting the
complex relationships between his world of imaginary powers and his manager
Teddy and wife Grace; premiered with Donal McCann in the part of Frank
and performed unsuccessfully with Patrick Magee opposite Helen Mirren
at the Royal Court (London), 1981, closing after six nights; Translations
(1980), an exploration study in the politics of language-shift set in
Donegal at the time of the nineteenth-century Ordnance Commission and
featuring centrally a hedge-school master and his forward-looking son played
by Stephen Rea; premiered as first production of Field Day Co., opening
at Derry Guildhall, 23 Sept. 1980; awarded Ewart-Biggs memorial prize
for that play, 1981; issued Three Sisters (1981), after Chekhov;
The Communication Cord (1982), musical score by Keith Donald; Fathers
and Sons, after Turgenev (1987); appt. to Irish Senate, 1987; Making
History (1988); The Last of the Name [edited autobiography
of Charles MacGlinchey] (1986); expressed dismay at the widespread reading
of the play as a supposed validation of an idyllic Gaelic order (letter
to Terence Brown, 28 Jan. 1992); accepted government appointment to Irish
Senate, 1987; The London Vertigo, adapting Macklin’s True-born
Irishman (1992) as a one-act play; Dancing at Lughnasa (1990),
a play of the last moments of family life in Donegal before the descent
into emigration shadowed by the fate of two of the dramatists own aunts;
offered to the Abbey and directed by Patrick Mason, receiving three Tony
Awards on Broadway in 1992; Friel accepts Tony Award with a paraphrase
of Graham Greene (‘Success is only the postponement of failure’);
Lughnasa filmed to script by Frank McGuinness (1998); A Month
in the Country [translation of Turgenev](Gate Theatre 1992); Wonderful
Tennessee (Abbey 1993); Molly Sweeney (Gate 1994); collections
are Selected Stories (1979) and The Diviner (1983), fiction;
and Selected Plays edited by Seamus Deane (1984) [six works]; he
lives in Donegal; DLitt, NUI 1982; resigned directorship of Field Day
in 1994; Give Me Your Answer Do! (Abbey 1997), produced by Noel
Pearson; mbr. Aosdána; Uncle Vanya, dir. Ben Barnes (Abbey
Oct. 1998); subject of a theatre festival in Dublin on occasion of his
70th anniversary, April-Aug. 1999, while Dancing at Lughnasa was produced
in Paris in December 1999, dir. Irina Brook (dg. Peter Brook]; presented his manuscripts and drafts to the National Library of Ireland, Feb. 2001; The Yalta
Game, a one-act play, was premiered at the Gate theatre in a three-some
with others by Conal McPherson and Neil Jordan, Oct. 2001; Faith-healer
revived (Abbey Aug. 2002), with John Kavanagh as Frank Hardy; Performances
(2003), a play inspired by love affair between Janacek and Kamila Stosslova [var. Anezka
Ungrova]; The Home Place (Gate, Feb. 2005), dir. Adrian Noble, with John Hurt as Christopher Gore; . DIW DIL OCIL FDA
Works
Plays [First Productions], This Doubtful Paradise (1959); The Francophile (Group Theatre, Belfast [?1960]); The Enemy Within (Abbey 1962); The Blind Mice (Eblana 1963); Philadelphia, Here I Come! (Gaiety Th. 1964; London 1965; NY 1966); The Loves of Cass Maguire (Dublin 1966; London & NY 1967); Lovers (Dublin 1966; NY 1968, London 1969); Crystal and Fox (London 1970); do., with The Mundy Scheme, in Two Plays (NY 1970); The Gentle Island (Dublin 1971; London 1973); The Freedom of the City (1973; London 1974); Living Quarters (London & Boston 1978); Volunteers (1974; London 1980); Aristocrats (1979) Faith Healer (Abbey 1979; London & Boston 1980; NY Longacre 1982); Translations (Derry 1980; London 1981); trans. Chekhov’s Three Sisters (1981); The Communication Cord (1982); Dancing at Lughnasa (Abbey 1989); Molly Sweeney (Gate 1994); trans., Chekhov, Uncle Vanya (Oldcastle: Gallery Press 1998), 86pp.; Performances (Gate 2003).
Plays, Philadelphia, Here I Come! (London: Faber 1965); The Loves of Cass Maguire (London: Faber 1967; Dublin: Gallery Press 1992); Lovers (NY: Farrar, Straus & Giroux 1968; London: Faber 1969); Crystal and Fox (London: Faber 1970); Two Plays [Crystal and Fox and The Mundy Scheme] (NY: Farrar, Straus & Giroux 1970); The Gentle Island (London: Davis-Poynter 1973) [playscript edn.]; The Freedom of the City (London: Faber 1974; Dublin: Gallery Press 1992); The Enemy Within, first publ. in Journal of Irish Literature, Vol. IV, No. 2 (May 1975), preface by Brian Friel, introduced by D. E. S. Maxwell, pp.4-6; also in The Irish Play Series (Newark, Proscenium 1975); Do., [another edn.], introduced by Tom Kilroy (Dublin: Gallery Press 1979); Living Quarters, after Hippolytus (London & Boston: Faber 1978; Gallery 1992); Volunteers (London & Boston: Faber 1979; Gallery 1989); Aristocrats (Dublin: Gallery Press 1980); Faith Healer (London & Boston: Faber 1980); Translations (London & Boston: Faber 1981); Making History (London & Boston, Faber 1988), 71pp. [ded. ‘for Basil and Helen’]; Dancing at Lughnasa (London & Boston: Faber 1990), 71pp. [‘in memory of those five brave Glenties women’]; The Three Sisters, trans. from Chekhov (Oldcastle, Meath: Gallery 1981); The Communication Cord (London & Boston: Faber 1983); Fathers and Sons, after Turgenev (London & Boston: Faber 1987); The London Vertigo (Dublin: Gallery Press 1991) [compressing Charles Macklin’s The True Born Irishman into one act]; and Wonderful Tennessee (London & Boston: Faber 1993), 79pp., Do., rep. (Dublin: Gallery Press 1996), 93pp.; Give Me Your Answer, Do! [Gallery] (Harmondsworth: Penguin 1997), 84pp.; A Month in the Country: after Turgenev, with introductory essay (Oldcastle: Gallery 1992); Molly Sweeney (Oldcastle: Gallery 1994); Brian Friel, Performances (Oldcastle: Gallery Press 2003), 48pp.
Short Fiction, The Saucer of Larks (London: Gollancz 1962), includes with title story ‘The Foundry House’ [concerning Joe Brennan, the lodge-keeper to the Hogan family; material for Aristocrats]; ‘The Potato Gatherers’; ‘The Gold in the Sea’; ‘The Illusionists’; ‘Everything Neat and Tidy’; et al.; The Gold in the Sea (London: Gollancz 1966).
Commentary, Essays, Diaries, Interviews 1964-1999, ed. Christopher Murray (London: Faber 1999) [contains ‘The Theatre of Hope and Despair’ (Everyman, No. 1, 1968); ‘Self-Portrait’ (Aquarius, No. 5, 1972)); ‘Plays Peasant and Unpeasant’ (1972); ‘Making a Reply to Criticisms of Translations by J. H. Andrews’ (1983), et al. Note also Seven Notes for a Festival Program (1999), produced in connection with the theatrical celebration of his first 40 years in theatre.
Selected & Collected Works/Fiction: Selected Stories, intro. by Seamus Deane (Dublin: Gallery Press 1979) and The Diviner, The Best Stories of Brian Friel (Dublin: O’Brien Press; London: Allison and Busby 1983) [title story material for Faith Healer]; also Selected Stories (Dublin: Gallery Press 1994), including items from Selected Stories (1979) and The Best Stories (1983) [e.g., ‘The Foundry House’ and ‘The Diviner’].
Selected & Collected Works/Drama, Selected Plays, ed. and intro. Seamus Deane (London & Boston: Faber 1984); Plays [Faber Contemporary Plays] (London: Faber and Faber 1996), Vol. 1, 456pp. [Philadelphia, Here I Come!; The Freedom of the City; Living Quarters; Aristocrats; Faith Healer; Translations]; Plays (London: Faber 1996), Vol. 2, 400pp. [Dancing at Lughnasa; Fathers and Sons; Making History; Wonderful Tennessee; Molly Sweeney].
Miscellaneous incl. preface to Michael Herity, ed., Ordnance Survey Letters: Donegal (Four Masters Press [2000]), 148pp. Also Introduction to Charles McGlinchey, Last of the Name (1986).
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Sam Hanna Bell, ‘Theatre’, in Michael Longley, ed., Causeway: The Arts in Ulster (NI Arts Council 1971), pp.82-94. Rushe, ‘Drama: Regional and Dublin', Éire-Ireland, 6, 3 (Autumn 1971).Brian Friel, ‘Self Portrait’, Aquarius (1972), [q.p.]. Brian Friel, ‘Plays Peasant and Unpeasant’, Times Literary Supplement (17 Mar. 1972), [q.p.]. Robert Hogan, After the Irish Renaissance (Minnesota UP 1967; London: Macmillan 1968). Robert Hogan, Since O’Casey and Other Essays on Irish Drama (Gerrards Cross: Smythe/NJ: Barnes & Noble 1983). ‘Brian Friel’, in Des Hickey and Gus Smith, eds., A Paler Shade of Green (London: Leslie Frewin 1972), publ. in America as Flight from the Celtic Twilight (Indianapolis: Bobs Merrill 1973). D. E. S. Maxwell, Brian Friel (Lewisburg: Bucknell UP 1973). J. W. Foster, Forces and Themes in Ulster Fiction (Dublin: Gill & Macmillan 1974) [on his short fiction]. Edmund J. Miner, ‘Homecoming: The Theme of Disillusionment in Brian Friel’s Short Stories’, Kansas Quarterly, 9, 2 (1977), [q.p.]. Seamus Heaney, ‘Digging Deeper: Brian Friel’s Volunteers’, in Preoccupations (London: Faber & Faber 1980), pp.214-16. Brian Friel, ‘Extracts from a Sporadic Diary’, in Andrew Carpenter & Peter Fallon, eds., The Writers, A Sense of Ireland (Dublin: O’Brien 1980), pp.39-40; rep. in Tim Pat Coogan, ed., Ireland and the Arts [Special issue of Literary Review] (London: Namara Press [1983]), pp.51-61. Christopher Murray, Review of Volunteers, in Irish University Review vol. 10 (1980). Fintan O’Toole, ‘The Man from God Knows Where’, in Dublin, 165 (28 Oct. 1982), pp.20-23 [a spoof interview]. Desmond Fennell, ‘The Last Years of the Gaelteacht’, The Crane Bag: Journal of Irish Studies, Vol. 5, No. 2 (1981), rep. in The Crane Bag Book of Irish Studies, 1982, pp.839-42, p.839.Richard Kearney, ‘Language: Brian Friel and Ireland’s Verbal Theatre’, Studies, 72 (Spring 1983), pp.20-56. Brian Friel, John Andrews & Kevin Barry, ‘Translations and a Paper Landscape’, Crane Bag, 7, 2 [Forum Issue] (1983), pp.118-24 [on sources of the play]. D. E. S. Maxwell, A Critical History of Modern Irish Drama 1891-1980 (Cambridge UP 1984), pp.200-12. K. Birker, ‘The Relationship between the Stage and the Audience in Brian Friel’s The Freedom of the City’, in Maurice Harmon, ed., The Irish Writer and the City (Gerrards Cross: Colin Smythe 1984), [q.p.]. [q.a.], Interview with Brian Friel, Guardian (18 Oct. 1984), [q.p.]. Seamus Deane, ‘Preface’ to Brian Friel, Selected Plays (Faber 1984).Seamus Deane, ‘Brian Friel: The Double Stage’, in Celtic Revivals: Essays in Modern Irish Literature, 1880-1980 (London: Faber 1985), pp.166-73. Declan Kiberd, ‘Brian Friel’s Faith Healer’, in Masaru Sekine, ed., Irish Writers and Society at Large [Irish Literary Studies 22] (Gerrards Cross: Colin Smythe 1985), pp.106-21. Ulf Dantanus, Brian Friel: The Growth of an Irish Dramatist (NJ: Humanities 1986; London: Faber 1988). Ulf Dantanus, Brian Friel, A Study, 1988.Ruth Neil, ‘Digging into History, A Reading of Brian Friel’s Volunteers and Seamus Heaney’s ‘Viking Ireland, Trial Pieces’, Irish University Review, 16 (1986) [q.p.]. Ginete Verstraete, ‘Brian Friel’s Drama and the Limits of Language’, in Joris Duytschaever and Geert Lernout, eds., History and Violence in Anglo-Irish Literature [Conference of 9 April 1986; Costerus Ser. Vol. 71] (Amsterdam: Rodopi 1988), pp.85-96.Anthony Roche, ‘A Bit Off the Map: Brian Friel’s Translations and Shakespeare’s Henry IV’, in Wolfgang Zach and Heinz Kosok eds., Literary Interrelations: Ireland, England and the World, Vol. 2: Comparison and Impact (Tübingen: Guntar Narr Verlag, 1987), pp.139-48. Ruth Niel, ‘Non-realistic Techniques in the Plays of Brian Friel: The Debt to International Drama’, in Zach and Kosok, eds., Literary Interrelations, Vol 2: Comparison and Impact (Tübingen: Guntar Narr Verlag, 1987), pp.349-60. Ruth Neil, A Reading of Brian Friel’s Volunteers and Seamus Heaney’s ‘Viking Ireland, Trial Pieces, Irish University Review, 16, 1986, [q.p.].Sean Connolly, ‘Dreaming History: Brian Friel’s Translations’, Theatre Ireland, 13 (1987), pp.42-44. Donald E. Morse, ‘From Heaven to Hell: Ireland in the Novels of J. P. Donleavy’, in Zach and Kosok eds., Literary Interrelations, Vol. 3: National Images and Stereotypes (Tübingen: Guntar Narr Verlag, 1987), pp.217-22. Marilyn Throne, ‘Brian Friel’s Faith Healer: Portrait of a Shaman’, Journal of Irish Literature, 16, 3 (Sept. 1987), [q.p.]. Catherine A. Wiley, ‘Recreating Ballybeg: Two Translations by Brian Friel’, Journal of Dramatic Theory and Criticism, 1, 2 (Spring 1987), [q.p.]. Richard Kearney, The Language of Brian Friel’, in Transitions: Narratives in Modern Irish Culture (Manchester UP 1988), [cp.126]. Wolfgang Zach, ‘Brian Friel’s Translations: National and Universal Dimensions’, in Richard Wall, ed., Medieval and Modem Ireland (Gerrards Cross: Colin Smythe 1988), pp.74-90. Ginete Verstraete, ‘Brian Friel’s Drama and the Limits of Language’, in Joris Duytschaever & Geert Lernout, eds., History and Violence in Anglo-Irish Literature [Conference of 9 April 1986. Costerus Ser. Vol. 71] (Amsterdam: Rodopi 1988), pp.85-96. Michael Etherton, Contemporary Irish Dramatists (London: Macmillan 1989), pp.147-208. Roy Foster, ‘Varieties of Irishness’, in Maurna Crozier, ed., Cultural Traditions in Northern Ireland: Varieties of Irishness, proceedings of the Cultural Traditions Cultural Traditions Group Conference (Belfast: IIS 1989), p.15.Ulick O’Connor, Brian Friel: Commitment and Crisis - The Writer and Northern Ireland (Dublin: Elo Press 1989). George O’Brien, Brian Friel (Dublin: Gill & Macmillan 1989), 148pp. Ron Follins and Nina Rollins, ‘The Loves of Cass McGuire: Friel’s Wagnerian Music Drama, Canadian Journal of Irish Studies, 16, 1 (July 1990), pp. 24-32. Richard Pine, Brian Friel and Ireland’s Drama (London: Routledge 1990), 269pp. Mervyn Rothstein [reviews Philadelphia [&c.]in New York Times, 28 Aug. 1990).Christopher Murray, ‘Brian Friel’s Making History and the Problem of Historical Accuracy’, in Geert Lernout, ed., The Crows Behind the Plough: History and Violence in Anglo-Irish Poetry and Drama [Costerus Ser. Vol. 79] (Amsterdam: Rodopi 1991), pp.62-77. Ulrich Schneider, ‘Staging History in Contemporary Anglo-Irish Drama: Brian Friel and Frank McGuinness’, in Geert Lernout, ed., The Crows Behind the Plough: History and Violence in Anglo-Irish Poetry and Drama [Costerus Ser. Vol. 79] (Amsterdam: Rodopi 1991), pp.79-98. Brian Arkins, ‘The Role of Greek and Latin in Friel’s Translations’, Colby Library Quarterly, 27 (1991), pp.202-29. Richard Bonaccorso, ‘Back to ‘Foundry House’: Brian Friel and the Short Story’, Canadian Journal of Irish Studies, 17, 2 (Dec. 1991), [q.p.]. Rhoda Koenig, The Literary Review (Sept.1992). Colin Meissner, ‘Words between Worlds: The Irish Language, the English Army and the Violence of Translation in Brian Friel’s Translations’, Colby Quarterly, 28, 3 (Sept. 1992), pp.164-72. Paddy Woodworth, ‘Fact and Fiction’ and Friel’ in Fortnight 350, Apr 1992, pp.35. J. H. Andrews, ‘Notes for a Future Edition of Brian Friel’s Translations’, in Irish Review, 13 (Winter 1992/93), pp.93-106 [critique of the handling of the Ordnance Survey in Translations]. Patrick Mason, Interview, Sunday Tribune 27 June 1993, Sect. B, p.5. Alan Peacock, ed., The Achievement of Brian Friel (Gerrards Cross: Colin Smythe 1993), 267pp. [infra] Robert Welch, ‘Brian Friel: “Isn’t This Your Job to Translate?”’, in Changing States: Transformations in Modern Irish Writing (London: Routledge 1993), pp.224-69. Rüdiger Imhof, ‘Re-Writing History: A Fresh Look at Brian Friel’s Volunteers’, in Canadian Journal of Irish Studies, 17, 2 (Dec. 1991), [q.p.]. Gerald Fitzgibbon, Historical Obsession in Recent Irish Drama’, in Geert Lernout, ed., The Crows Behind the Plough: History and Violence in Anglo-Irish Poetry and Drama [Costerus Ser. Vol. 79] (Amsterdam: Rodopi 1991), pp.41-59; espec. pp.41-47 & 49ff. [on Translations]. Joan E. Robbins, ‘Conjuring the Life of the Spirit in the Plays of Brian Friel’, in Canadian Journal of Irish Studies, 18, 1 (Dec. 1992), pp.75-87. Joe Dowling, ‘Staging Friel’, in Peacock, Achievement, 1993. David Krause, ‘Second Opinion’, Irish Times (16 Jan. 1993). Roy Foster, Paddy and Mr Punch (London: Allen Lane 1993). Seamus Heaney, ‘For Liberation, Brian Friel and the Use of Memory’, in Peacock, ed., Achievement of Brian Friel, 1993.Bridget O’Toole, review of Alan Peacock, ed., The Achievement of Brian Friel (1993), in Books Ireland (Nov. 1993). Edna Longley: ‘Defending Ireland’s Soul: Protestant Writers and Irish nationalism after Independence’, in The Living Stream: Literature and Revisionism in Ireland, Newcastle-Upon-Tyne: Bloodaxe 1994, p.159. Lionel Pilkington, ‘Language and Politics in Brian Friel’s Translations’, in Irish University Review, 20, 2 (Autumn 1990), pp.282-98. Lionel Pilkington, ‘Theatre and Insurgency in Ireland’, Essays in Theatre/Études Theatricales, Vol. 12, No. 2, 1994, pp.129-40; pp.134-35.)José Lanters, ‘Gender and Identity in Brian Friel’s Faith Healer and Thomas Murphy’s The Gigli Concert’, in Irish University Review, 22, 2 (1992), pp.[279]-83. Katharine Worth, ‘Translations in History: Story Telling in Brian Friel’s Theatre, in James Acheson, ed., British and Irish Drama Since 1960 (London: Macmillan; NY: St Martin’s Press 1993), pp.73-87. Barry Sloan, ‘“The Overall Thing”: Brian Friel’s Making History’, in Irish Studies Review, 8 (Autumn 1994), pp.12-16. John Keyes, Review of Molly Sweeney (Gate 1994), in Fortnight (Sept. 1994).Fintan O'Toole, review of Brian Friel's Molloy Sweeney, ‘Second Opinion' [ column], The Irish Times (27 Sept. 1994). Fintan O’Toole, ‘Marking Time, from Making History to Dancing at Lughnasa’, in Alan Peacock, ed., The Achievement of Brian Friel (Gerrards Cross: Colin Smythe 1993). Elmer Kennedy-Andrews, The Art of Brien Friel: Neither Reality Nor Dreams (London: Macmillan 1995), 285pp. Marilynn Richtarik, Acting Between the Lines: The Field Day Theatre Company and Irish Cultural Politics 1980-1984 (Oxford: OUP 1994). George Hughes, ‘Ghosts and Ritual in Brian Friel’s Faith Healer’, Irish University Review: Journal of Irish Studies, 24, 2 (Fall-Winter, 1994), [q.p.]. Declan Kiberd, ‘Friel Translating’, in Inventing Ireland: The Literature of the Modern Nation [Chap. 33] (Jonathan Cape 1995), pp.614-37. George O’Brien, Brian Friel: A Reference Guide, 1962-1992 (NY: G. K. Hall & Co. 1995). Declan Kiberd, ‘Friel Translating’, in Inventing Ireland: The Literature of the Modern Nation (London: Jonathan Cape 1995) [Chap. 33], pp.614-23. Anthony Roche, ‘Friel’s Drama: Leaving and Coming Home’, in Contemporary Irish Drama From Beckett to McGuinness (Dublin: Gill & Macmillan 1995), p.72-128, also pp.244-55 [discussion of Translations in Northern context]. Eoin O’Neachtain, letter to Times Literary Supplement (9 June 1995).Elizabeth B. Cullingford, ‘British Romans and Irish Carthaginians: Anticolonial Metaphor in Heaney, Friel and McGuinness, in PMLA (March 1996), pp.222-36. Richard Bonaccorso, ‘Personal Devices: Two Representative Stories by Brian Friel’, Colby Quarter. 32, 2 (June 1996), [q.p.]. Fintan O’Toole, ‘Distorting the Past, True to the Present’, in The Irish Times (31 July 1996).Alan Peacock and Kathleen Devine, ‘Other Dimensions: Myth, Ritual and Sacrifice in Brian Friel’s Wonderful Tennessee’, Études Irlandaises (Printemps 1997), pp.85-100. Shaun Richards, ‘Placed Identities for Placeless Times: Brian Friel and Post-Colonial Criticism’, in Irish University Review [‘Literature, Criticism, & Theory’] (Spring/Summer 1997), pp.55-68. Mária Kurdi, ‘Rewriting the Reread: Brian Friel’s Version of Turgenev’s A Month in the Country’, in Irish University Review (Autumn/Winter 1995), pp.284-97. William Kerwin, ed., Brian Friel: A Casebook (NY/London: Garland 1997) [infra]. Helen Meany, ‘Questions of creation’ [Irish Times, March 1997].Christopher Murray, Twentieth-century Irish Drama: Mirror up to Nation (Manchester UP 1997), [q.p.]. Martine Pelletier, Le Theatre de Brian Friel: Histoire et histoires (Villeneuve d’Ascq: Press Univ. de Septentrion 1997). David Nowlan, in Irish Times, ?26 Oct 1998.Francis Charles McGrath, Brian Friel’s (Post-)Colonial Drama: Language, Illusion and Politics (Syracuse UP 1999). Tom Kilroy, ‘The Life and Art of Brian’, in The Irish Times, (24 April, 1999).Fintan O’Toole, review of The Home Place, in The Irish Times (3 Feb. 2005) [infra]. Nesta Jones, Brian Friel: Making History, Dancing at Lughnasa, Philadelphia Here I Come!, and Translations (London: Faber 2000), 256pp. Richard Pine, The Diviner: The Art of Brian Friel [rev. edn.] (Dublin: UCD Press 2000), 409pp. [incls. Appendix: George Steiner and Brian Friel, pp.358-63; infra.] Conor McCarthy, ‘Brian Friel: Authority and Geography’, in Modernisation: Crisis and Culture in Ireland 1969-1992 (Dublin: Four Courts Press 2000), [Chap. 1], pp.45-79 [discusses Mundy Scheme; Freedom of the City; Living Quarters; Faith-healer]. Christopher Murray, ed. & intro., Brian Friel: Essays, Diaries, Interviews 1964-1999 (London: Faber 2000), 200pp. [interviews with Eavan Boland, Fintan O’Toole, Ray Comiskey, Elgy Gillespie, Paddy Agnew]. Lionel Pilkington, Theatre and the State in Twentieth Century Ireland: Cultivating the People (London: Routledge 2001) [incls. critique of Freedom of the City]. Paul Taylor, Review of Faith Healer, in Independent [UK], 1 Dec. 2001, p.8); revived Abbey august 2002, touring Ireland. Robert Shore, review of Brian Friel, Faith Healer, prod. Jonathan Kent, at Almeida Th. (King’s Cross), in Times Literary Supplement (14 Dec. 2001). Toby Corbett, Brian Friel: Decoding the Language of the Tribe (Dublin: Liffey Press 2002), 188pp. Christopher Morash, ‘A Night at the Theatre 7: Translations [...] The Guildhall Derry Tuesday 23 September 1980’ [chap.], A History of Irish Theatre 1601-2000 (Cambridge UP 2002), pp.233-41. Eamon Kelly, reviewing of Toby Corbett, Brian Friel: Decoding the Language of the Tribe [Contemp. Irish Writers & Film-makers Ser.] (Dublin: Liffey Press 2002), Books Ireland, April 2003, p.84.) Dawn Duncan, Postcolonial Theory in Irish Drama from 1800-2000 (Lampeter, Wales: Mellen Press 2004), 272pp. [ treats of Friel with Alicia LeFanu, Dion Boucicault & W. B. Yeats.] Fintan O’Toole, [untitled] review of The Home Place, in The Irish Times (3 Feb. 2005). Tim Pat Coogan, ed., Literary Review - Special Issue, Ireland and the Arts (London: Namara n.d.).
Helena Sheehan, Irish Television Drama, A Society and Its Stories (RTE 1987). lists Crystal and the Fox, Brian Friel/Noel Ó Briain; Mr Sing, My Heart’s Delight, Brian Friel, adpt. Brian MacLochlainn/MacLochlainn (1974); Loves of Cass Maguire, The, Friel/Jim Fitzgerald (1969) [see Seamus Deane, gen. ed., Field Day Anthology of Irish Writing (Derry: Field Day 1991), Vol. 3: selects Translations [1207-36]; & REMS 564, 630, 632-33, 642, 643, 644, 648-54 passim, 1137, 1140, 1142-43, 1313, 1372n, 1377; BIOG & COMM, 1206-07 [as above]; also J[ohn] H. Andrews, ‘Translations and a Paper Landscape’, in The Crane Bag, Vol. 7, No. 2 (1983), pp.118-24, on the role of the history of the Ordnance Commission in Translations; see Crane Bag 7, no. 2 (1983) [FDA3]. Robert Hogan, Seven Irish Plays, Introduction (Minnesota UP 1967), cites The Francophile (Group Theatre, Belfast), The Enemy Within (Abbey), and Blind Mice [chk. dates]. Gallery Press (1995 Cat.) lists reprints of the following [with orig. dates]: The Enemy Within [1962]; The Loves of Cass Maguire [1967]; The Freedom of the City [1973]; Living Quarters [1977]; Faith Healer [1979]; Three Sisters [1981]; and A Month in the Country [1992]; also, Bibliography of works. Books in Print (1994): Aristocrats (Dublin: Gallery Press 1980, 1993); Communication Cord (Dublin: Gallery Press 1983, 1989); Crystal and Fox (London: Faber 1970, Gallery 1985, 1993); Dancing at Lughnasa (Lon/Bost: Faber 1990, 1994), also French’s Acting ed., (1992); Enemy Within (Newark, Proscenium 1975; Dublin: Gallery Press 1979, 1993); Fathers and Sons, after Turgenev (Faber 1987, 1994); Faith Healer (London: Faber 1980; Dublin: Gallery Press 1991, 1993); Freedom of City (London: Faber 1974; Dublin: Gallery Press 1992) 1992, 1994); Gentle Island (London: Davis-Poynter 1973; Dublin: Gallery Press 1992, 1993); Living Quarters, after Hippolytus (London: Faber 1978; rep. Gallery 1992, 1993); London Vertigo, after Macklin (Dublin: Gallery Press 1990, 1993); Lovers (NY: Farrar, Straus & Giroux 1968; London: Faber 1969); Loves of Cass Maguire (London: Faber 1967; Dublin: Gallery Press 1984, 1992); Making History (Lon/Bost: Faber 1988, 1994); Philadelphia, Here I Come! (London: Faber 1967, 1994); Selected Plays, ed. Seamus Deane (London: Faber 1984, 1994); Three Sisters, trans. from Chekhov (Dublin: Gallery Press 1981, 1993); Translations (Lon/Bost: Faber 1981, 1994); Volunteers (Gallery 1989, 1993); Wonderful Tennessee (London: Faber, 1993, 1994; Dublin: Gallery Press 1993); Friel, ed., I. S. Turgenev, A Month in Country (Dublin: Gallery Press 1992, 1993); The Diviner, The Best Stories of Brian Friel (Dublin: O’Brien Press; London: Allison and Busby 1983)[WHITAKER & BNB]. Numerous bibliographical details in the above listing [Criticism] supplied by Sam McCready, University of Maryland Baltimore County <mccready@umbc.edu>.
Paper landscape (2): Bibl.: John Harwood Andrews, A Paper Landscape: The Ordnance Survey in Nineteenth-century Ireland (Oxford: Clarendon Press 1975), xxiv, 350pp., [9] leaves of pls., with a rep. edn from Lilliput Press (Dublin 2002). Acknowledged as source in Brian Friel, John Andrews & Kevin Barry, ‘Translations and a Paper Landscape’, in Crane Bag, 7, 2 [Forum Issue] (1983), pp.118-24. See also J. H. Andrews, History in the Ordnance Map: An Introduction for Irish Readers (Dublin: Ordnance Survey Office [Phoenix Park] 1974), [4], 63pp., with facs. + maps [pb.]. Landscape of fact: In writing that ‘a civilisation can be imprisoned in linguistic contour which no longer matches the landscape [...] of fact’ (Translations), Friel echoes George Steiner in After Babel: ‘The fixity of a lingusitic contour ... which matches only at certain, ritual, arbitrary points the changing landscape of fact’; op. cit., p.18.) Note also Friel that expressed dismay at the widespread reading of the play as a supposed validation of an idyllic Gaelic order. (Letter to Terence Brown, 28 Jan. 1992.) Back to Ballybeg (I): ‘A glance at any six-inch Ordnance map will reveal the strange names that Gaelic imagination contrived and English scribes corrupted. Here are a few which I have come across in Ulster: Ballywillwill, Ballymunterhiggin, Aghayeevoge, Treantaghmucklagh. In all Ireland there are no less than 5,000 townlands beginning with ‘Bally’, forty-five of them named Ballybeg (little town)’ (Estyn Evans, Irish Folk Ways, London: Routledge 1957, p.28). Film, Dancing at Lughnasa, screenplay by Frank McGuinness; dir. Pat O’Connor, with Meryl Streep, Kathy Burke, Sophie Thompson, Bríd Brennan, Catherine McCormack, Rhys Igfans and Michael Gambon; music in dancing scene by Bill Whelan; premiered Sept. 1998. On-line sources incl. Andy Morrison, ‘The Historical and Colonial Context of Brian Friel’s Translations’ [MA Submission, QUB 1998], in The Imperial Archive, ed. Leon Litvack [link]; Wyse, Bruce. “Traumatic Healing, Romanticism and Sacrifice in Brian Friel’s Faith Healer”, in Romanticism and the New: Program for the Seventh Annual Conference of the North American Society for the Study of Romanticism [8 August 1999], ed. Julia M. Wright (Dalhousie University 2002) [link] [ top ]
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Princess Grace Irish Library (Monaco)