Even though we’re still in the depths of winter and even summer seems a long way off, application deadlines for the Dublin Theatre Festival and the Dublin Fringe Festival are already looming.
Dublin Theatre Festival are looking for Play On participants again this year. The programme lasts from March to October and is for both new playwrights and playwrights who have had professional productions of their work staged. Successful applicants will work towards a public reading of their work as part of the Festival next October.
The deadline is this Friday, February 15 but they only accept hard-copies so get them in the post by Wednesday! More information here.
The deadline for this year’s Fringe Festival is March 8 and as usual there is loads of information about everything you need to know on the Fringe website. They are also running a Pre-Application Workshop tomorrow at 6pm in Fringe HQ.
Show in a Bag
Fishamble, ITI and Fringe are running Show in a Bag again this year, unsurprisingly since it has been a great success over the last few years with shows picking up a number of Fringe awards and nominations and also having long, successful, touring lives after the Fringe. The deadline for this year’s Show in a Bag applications is March 1 and there is an information session tomorrow at 7.30pm, also in Fringe HQ. The application form and more information about how to apply is available on the Fringe website.
Last term I had a class on Irish Playwrights Since the 60s and for my final essay, I wrote about Irish translations of Russian literature. There’s been quite a few of them! Lots of Chekhov – Brian Friel and Frank McGuinness both translated Three Sisters, Frank McGuinness also translated Uncle Vanya and Thomas Kilroy moved The Seagull from provincial Russia to the West of Ireland – and a few novels have been adapted for the stage as well – most recently Tom Murphy’s Last Days of the Reluctant Tyrant and Enda Walsh’s Delirium. My essay didn’t really say anything new about all this, just that it happens a lot, with various amounts of success and for lots of different reasons.
Roddy Doyle’s The Government Inspector, currently running at the Abbey, is yet another example of an Irish version of a Russian play. They’re everywhere! (I had a mild hiccup in my research – for about three weeks I was convinced Ibsen was Russian, probably because it suited my topic – there are lots of translations of Ibsen plays. He’s actually Norwegian.) The Government Inspector looks like a fun adaptation and I am going to try and see it before I head back to Galway in January.
I really enjoyed the Irish Playwrights since the 60s class. Each week we were assigned a playwright and could read any play by that person. Then everyone would present their play to the rest of the class and we would discuss them individually and as a body of work. I came across playwrights I had never heard of and was exposed to a huge range of plays over the twelve week term. It was great to talk about the plays and heard other people’s opinions on them. It was a very laid back, chatty sort of a class. It also gave me a great grounding in Irish playwrights which is one of the things I felt I missed out on by doing my degree in England. Reading so many plays was also really helpful for the playwriting class that I also took this term. The two classes feed into each other by forcing me to look at the plays both as a reader and a writer and I found that really useful.