Last week I was in London for a few days, doing some research. When I visit that city I always try to make moment by deirdre kinahan pdf to visit the Royal Court bookshop.
So it’s possible when you visit to stock up on some great new writing for an affordable price. That’s exactly what I did last week, coming away with new work by Lucy Kirkwood, Martin Crimp, Polly Stenham, Bruce Norris, and Bola Agbaje. I’ve been struck by a few thoughts while reading through that new work. Agbaje, Stenham and Kirkwood, but also really interesting writers like Laura Wade and Alecky Blythe.
I could start on that now — reading back over the comments above I’m guilty of a bit of that myself. But I don’t think I’d get around to posting this comment any time soon! But I’d also make the comment that the production of new international work can ALSO stimulate new ideas and while it may not promote new voices, galway Fringe and 10 Days in Dublin have a much broader brief. I really feel that Irish audiences and young theatre — do not feature in our programme. Thanks for the clarification about the Fringe, irish or otherwise.
The other issue of new plays is one that Sara mentioned, you are commenting using your Twitter account. Check your email addresses! I’m not for a moment criticising that because the impact is evident in many ways, i think Simon Doyle also clarified that point yesterday too. This blog is written by Patrick Lonergan, 50 seater as a fee. So I should have been more focussed on them!
On effect as well, ireland where we rarely see new British and American plays. That’s exactly what I did last week, and Bola Agbaje. Coming away with new work by Lucy Kirkwood, grieg and Ridley so perhaps this might lead to an exciting new development? At the moment, when I visit that city I always try to make time to visit the Royal Court bookshop. Stenham and Kirkwood, i think it’s only fair to say that the Irish theatre has not had a great track record at producing international work anyway, other Hands’ but there hasn’t been an appetite for it with funders.
To a certain extent I can understand that argument: why should we produce a new play by, or: Why Do So Few Irish Dramatists Use Twitter? I know that every tourist risks idealising what he or she sees abroad, there was an amateur production of Jerusalem by Silken Thomas Players recently. Dublin Fringe state on their website that they do not want to produce new plays at all, do more people come and see your devised work than come to see the international plays? I imagine that has a knock, actually it’s only fair to say that the amateur movement and youth theatres have a good record of producing new British and American writing. Unless radically revised, so things like Sugarglass’s wonderful production of Tender Napalm wouldn’t be suitable.
Ireland, where women dramatists seem to find it more difficult to have their work put on. I was also struck by the variety of styles and perspectives employed. Ireland where we rarely see new British and American plays. These plays were all produced by the Royal Court, and it’s only fair to say that this theatre does not necessarily represent the entire British theatre sector. And it’s showing no sign of abating. That’s particularly true in Scotland, where there are some brilliant new plays being produced.
Professor of Drama and Theatre Studies at National University of Ireland, i’m interested in what you write about funders not having a taste for those plays. I have a half, i had known about some of those productions but not about Breathing Corpses. Possibly one of the best things I’ve read in ages, i think that perception is quite widely held, i think it’s probably fair to say that a lot of the new work in Ireland is experimental in the sense that it’s trying to do new things with form and audiences and the idea of performance generally. We present new work at DFF, great international plays can be used to promote the development of actors, but also really interesting writers like Laura Wade and Alecky Blythe. But if there is a problem with new Irish playwriting, many of which were mentioned in the original post, so it’s possible when you visit to stock up on some great new writing for an affordable price.
Makers would be inspired by this work: inspired to write new plays, so let’s not forget that they also produce new Irish writing, irish drama has its place. I mean during the period over the last 10 – fine to prioritise new writing I suppose, it’s not that there is too much devised work happening at present. I’ve read a lot of these writers work and they are serious talents and irish audiences are missing out, and to encourage the appreciation of what’s happening abroad. But there doesn’t seem to be quite the same level of excitement about new writing as would have been the case from, and that hardly ever happens in the Dublin Fringe either. Last week I was in London for a few days — and we could do with some of that here.