Brian Friel in Spain: An Off-Centre Love Story
Spanish theatres are not prolific in the staging of Irish playwrights. However, the Northern Irish writer Brian Friel (1929-2015) has been a curious exception, his plays having been performed in different cities in Spain since William Layton produced Amantes: vencedores y vencidos (Lovers: Winners a...
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Asociación Española de Estudios Irlandeses
2021-03-01
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Online Access: | https://www.estudiosirlandeses.org/wp-content/uploads/2021/03/DEF-María-Gaviña.pdf |
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doaj-b7e49f80d85f47009dd1c7f97f02c4cf2021-03-16T15:30:08ZengAsociación Española de Estudios IrlandesesEstudios Irlandeses1699-311X1699-311X2021-03-01161611012410074Brian Friel in Spain: An Off-Centre Love StoryMaría Gaviña-Costero0 Universitat de València, Spain Spanish theatres are not prolific in the staging of Irish playwrights. However, the Northern Irish writer Brian Friel (1929-2015) has been a curious exception, his plays having been performed in different cities in Spain since William Layton produced Amantes: vencedores y vencidos (Lovers: Winners and Losers) in 1972. The origin of Friel’s popularity in this country may be attributed to what many theatre directors and audiences considered to be a parallel political situation between post-colonial Ireland and the historical peripheral communities with a language other than Spanish: Catalonia, the Basque Country and Galicia; the fact is that the number of Catalan directors who have staged works by Friel exceeds that of any other territory in Spain. However, despite the political identification that can be behind the success of a play like Translations (1980), the staging of others with a subtler political overtone, such as Lovers (1967), Dancing at Lughnasa (1990), Molly Sweeney (1994), Faith Healer (1979) and Afterplay (2001), should prompt us to find the reason for this imbalance of representation elsewhere. By analysing the production of the plays, both through the study of their programmes and interviews with their protagonists, and by scrutinising their reception, I have attempted to discern some common factors to account for the selection of Friel’s dramatic texts.https://www.estudiosirlandeses.org/wp-content/uploads/2021/03/DEF-María-Gaviña.pdfbrian frielspanish scenetheatre receptiontranslationidentity |
collection |
DOAJ |
language |
English |
format |
Article |
sources |
DOAJ |
author |
María Gaviña-Costero |
spellingShingle |
María Gaviña-Costero Brian Friel in Spain: An Off-Centre Love Story Estudios Irlandeses brian friel spanish scene theatre reception translation identity |
author_facet |
María Gaviña-Costero |
author_sort |
María Gaviña-Costero |
title |
Brian Friel in Spain: An Off-Centre Love Story |
title_short |
Brian Friel in Spain: An Off-Centre Love Story |
title_full |
Brian Friel in Spain: An Off-Centre Love Story |
title_fullStr |
Brian Friel in Spain: An Off-Centre Love Story |
title_full_unstemmed |
Brian Friel in Spain: An Off-Centre Love Story |
title_sort |
brian friel in spain: an off-centre love story |
publisher |
Asociación Española de Estudios Irlandeses |
series |
Estudios Irlandeses |
issn |
1699-311X 1699-311X |
publishDate |
2021-03-01 |
description |
Spanish theatres are not prolific in the staging of Irish playwrights. However, the Northern Irish writer Brian Friel (1929-2015) has been a curious exception, his plays having been performed in different cities in Spain since William Layton produced Amantes: vencedores y vencidos (Lovers: Winners and Losers) in 1972. The origin of Friel’s popularity in this country may be attributed to what many theatre directors and audiences considered to be a parallel political situation between post-colonial Ireland and the historical peripheral communities with a language other than Spanish: Catalonia, the Basque Country and Galicia; the fact is that the number of Catalan directors who have staged works by Friel exceeds that of any other territory in Spain. However, despite the political identification that can be behind the success of a play like Translations (1980), the staging of others with a subtler political overtone, such as Lovers (1967), Dancing at Lughnasa (1990), Molly Sweeney (1994), Faith Healer (1979) and Afterplay (2001), should prompt us to find the reason for this imbalance of representation elsewhere. By analysing the production of the plays, both through the study of their programmes and interviews with their protagonists, and by scrutinising their reception, I have attempted to discern some common factors to account for the selection of Friel’s dramatic texts. |
topic |
brian friel spanish scene theatre reception translation identity |
url |
https://www.estudiosirlandeses.org/wp-content/uploads/2021/03/DEF-María-Gaviña.pdf |
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AT mariagavinacostero brianfrielinspainanoffcentrelovestory |
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