WorldCat Identities

Tyrone Productions

Overview
Works: 66 works in 151 publications in 1 language and 3,938 library holdings
Genres: Film adaptations  Nonfiction films  Short films  Filmed dance  Drama  Music videos  Television adaptations  Documentary films  Revues  Made-for-TV movies 
Roles: Producer
Classifications: PR6003.E282, 793.319415
Publication Timeline
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Most widely held works by Tyrone Productions
Beckett on film by Samuel Beckett( Visual )

22 editions published between 2001 and 2002 in English and No Linguistic content and held by 1,268 WorldCat member libraries worldwide

"Beckett on Film is a unique project. For the first time, all 19 of Samuel Beckett's plays have been filmed, bringing together some of the world's most talented directors and actors. Beckett on Film was the brainchild of Michael Colgan, the artistic director of the Gate Theatre, Dublin. All the films in the series are produced by Michael Colgan and Alan Maloney for RTÉ, Channel 4 and the Irish Film Board."--Beckett on Film website
Riverdance the show by John McColgan( Visual )

16 editions published between 1995 and 2002 in English and held by 837 WorldCat member libraries worldwide

Presents a live performance of Irish dance and music, with American, Spanish, and Russian performers as well
Riverdance : live from New York City( Visual )

9 editions published between 1996 and 2008 in English and held by 593 WorldCat member libraries worldwide

A music dance spectacular filmed live at New York City's Radio Center Music Hall with a international cast of over seventy singers, dancers and musicians. The dancing is primarily Irish in style, but there are also elements of Spanish flamenco dancing, Russian folk-dancing and modern dance
The best of Riverdance by John McColgan( Visual )

8 editions published between 2005 and 2011 in English and held by 548 WorldCat member libraries worldwide

Presents a performance of Irish dance and music, with American, Spanish, and Russian performers as well
Riverdance, the show : featuring the original Dublin cast( Visual )

1 edition published in 1996 in English and held by 143 WorldCat member libraries worldwide

A visually stunning celebration of Irish music, song and dance
Borstal Boy( Visual )

2 editions published in 2002 in English and held by 96 WorldCat member libraries worldwide

Sixteen year-old Irish activist, Brendan Behan, confronts inner conflicts when imprisoned in England during World War II
Riverdance live from Beijing by Bill Whelan( Visual )

4 editions published between 2010 and 2011 in English and held by 90 WorldCat member libraries worldwide

A live performance marking the 15th anniversary of the Riverdance franchise filmed during a 12-city tour of China in 2010
Riverdance : live from Geneva by John McColgan( Visual )

5 editions published in 2003 in English and No Linguistic content and held by 86 WorldCat member libraries worldwide

A performance in Geneva featuring Irish and other traditional dance and music
Gael force( Visual )

9 editions published between 1997 and 2006 in English and held by 48 WorldCat member libraries worldwide

Live performances from Ireland's greatest musicians and performers
Gael force : Ireland's greatest entertainers( Visual )

1 edition published in 1998 in English and held by 28 WorldCat member libraries worldwide

"Stunning live performances, beautiful melodies and virtuoso playing from Ireland's greatest musicians and performers"--Container
Waiting for Godot by Samuel Beckett( Visual )

4 editions published between 2001 and 2007 in English and held by 14 WorldCat member libraries worldwide

Two men in a timeless setting are engaged in a perpetual, pointless entertainment that parodies the human condition. Beckett's characters are often in pairs tied together by need, like master and slave or husband and wife. The entity of Godot can be seen as any form of transcendental meaning or purpose to life and it is significant that this entity is never manifested. Vladimir and Estragon are entertained as they wait by Pozzo and Lucky and storytelling becomes a means of passing time. Uncertainty is clearly the only certainty and the banal, everyday language in their exchanges takes on a universal significance. Beckett once said "All that matters is the laugh and the tear" and it is these extreme manifestations of emotion that he uses to portray the human condition. Beckett's best known play, Waiting for Godot is a finely wrought tragicomedy exploring the battle between the futility of life and the fundamental human desire to survive
Krapp's last tape by Samuel Beckett( Visual )

2 editions published in 2002 in English and held by 7 WorldCat member libraries worldwide

In Krapp's Last Tape, an old man reviews his life pondering the decisions he once made and assesses his predicament. We learn about him not from the sixty nine year old man on stage but from his thirty nine year old self on the tape he chooses to listen to. Krapp relishes and savors his words spoken by the pompous voice on the tape stopping, starting and forwarding it at as draws him back into a past where once there was a chance of happiness. This becomes an image of the mystery of the self, for to the old Krapp the voice of the younger Krapp is that of a total stranger. In Beckett's work, recognition of the triviality and pointlessness of most human strivings frees the viewer from their concerns with senseless objectives with a liberating effect. Laughter emerges from a view of self important preoccupation with illusory ambitions and futile desires
Happy days by Samuel Beckett( Visual )

2 editions published in 2002 in English and held by 7 WorldCat member libraries worldwide

Written in English and considered Beckett's most cheerful piece, Happy Days features a woman buried up to her waist in a mound of sand. Winnie's husband, Willie, appears only occasionally from his tunnel behind the mound. Winnie's opening words, 'Another heavenly day', set the tone for a long monologue which lasts until she can no longer busy herself with the contents of her enormous handbag. She follows the routine of the day praying, brushing her teeth, reminiscing about the past and endlessly trying to recall 'unforgettable lines' that she has once read. By the end of the second act she is buried up to her neck, but she carries on chattering cheerfully
That time by Samuel Beckett( Visual )

2 editions published in 2002 in English and held by 7 WorldCat member libraries worldwide

Similar to the formal experimentation of Play, this piece intercuts three monologues from three separate periods of time in the experience of one character. Only the Listener's face surrounded by a shock of white hair is visible. His slow breathing audible, he is bombarded with three voices representing three different times in his past. Each voice, A, B, C recall separate stories, but they are interspersed and alternated. The pattern is precise with each voice speaking four times during the course of each of three scenes, all of which are marked off by silences. The first and second scenes offer precise parallel patterns and the third offers a pattern repeated three times suggesting endless repetition or absolute finality. Time and visions of nothingness burden each voice and at the end the isolated head smiles at the prospect of happiness
Rockaby : the documentary by Samuel Beckett( Visual )

2 editions published in 2002 in English and held by 7 WorldCat member libraries worldwide

In Rockaby, which was written in English in 1980, an old woman dressed in a black evening dress rocks herself in a rocking chair while listening to her own recorded voice. The story tells of the character's seeking for another 'a little like' herself, in the outside world. The search ends as all the blinds are drawn and complete darkness descends
Act without words II by Samuel Beckett( Visual )

2 editions published in 2002 in English and held by 7 WorldCat member libraries worldwide

A brief mime showing two players, A and B, in two large sacks on the stage. Beckett specified "violent" lighting and extended the notion by having the players prodded into action by a "goad." A is "slow, awkward and absent" whereas B is "brisk, rapid, precise." The goad prods A into movement and a dull, gradual emergence to set about his banal routine. Disheveled and sulky, he eventually undresses and re-enters the sack. At this point, the goad prods B into action. He embarks on a more complicated routine, checking his watch, moving briskly to relocate the sacks on the stage before retiring back to his own sack. The goad, now on two wheels, awakens A and the routine goes on. What unites A and B is the equal absurdity of their lives in a vicious circle of never-ending useless activity
Not I by Samuel Beckett( Visual )

2 editions published in 2002 in English and held by 7 WorldCat member libraries worldwide

Not I features an actress seated on stage with just the mouth spot-lit. The hypnotic and spasmodic movements of the disturbingly disembodied organ re-enacts the elementary events referred to in the narration - conception, birth, copulation, defecation, speech, weeping and listening. Mouth refuses life but her mouth mimes its actions
Play : [Significant areas of development] by Manuel Herrero( Visual )

2 editions published in 2002 in English and held by 7 WorldCat member libraries worldwide

Three urns stand on the stage. From each, a head protrudes a man and two women. The film tells the story of a love triangle and the camera focuses on each character as they narrate a bitter history and their roles in it. Each head held fast in its urn is provoked into speech by an inquisitorial camera. The heads speak not just in response to the camera's focus but in an attempt to get it off themselves so that words become a defense mechanism. The musicality of Play is a measure of the camera's dehumanization of the characters in the urns
Ohio impromptu by Samuel Beckett( Visual )

2 editions published in 2002 in English and held by 7 WorldCat member libraries worldwide

Ohio Impromptu, written in 1980, opens with a figure clad in black with long white hair hiding his face and sitting on a white chair at a white table. There are two characters, the Reader and the Listener. The Reader, it emerges, is a mysterious messenger from someone now dead and once loved by the Listener. The book the Reader reads from tells the story of the Listener mourning right up until the last moment, when the story is told for the last time and 'there is nothing left to tell'. Throughout, the Listener not only listens but also regulates his companion's reading by knocking on the table with his hand in an attempt to ensure that this will not be the final telling of the tale
Rough for theatre II by Samuel Beckett( Visual )

2 editions published in 2002 in English and held by 7 WorldCat member libraries worldwide

In Rough for Theatre II, written in French in the 1950s, two men, 'A' and 'B', try to assess the life of 'C', who is standing motionless, with his back to the audience, ready to jump out of the window. A and B review his life with mass documentation as though he were not present. The documents are mainly quotations from C's acquaintances. A and B consider the flotsam and jetsam of C's life including his confessed 'morbid sensitivity to the opinions of others'. Distracted by the electric light and the love-birds they find in a cage, they do not appear to be giving their task due concentration. They finally decide to let him jump, only to discover he is already dead
 
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Audience Level
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Audience level: 0.23 (from 0.18 for Riverdance ... to 0.70 for Happy days ...)

Borstal Boy
Languages
English (97)

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