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Tyrone Productions

Overview
Works: 78 works in 136 publications in 1 language and 4,142 library holdings
Genres: Film adaptations  Television adaptations  Drama  Filmed performances  Music videos  History  Biography  Music 
Roles: Producer
Classifications: PR6003.E282, 793.319415
Publication Timeline
Key
Publications about Tyrone Productions
Publications by Tyrone Productions
Most widely held works by Tyrone Productions
Beckett on film by Samuel Beckett( visu )
9 editions published between 2001 and 2002 in English and held by 998 libraries worldwide
"The comprehensive cinematic interpretation of Beckett's plays."--Container
Riverdance the show by Bill Whelan( visu )
9 editions published between 1995 and 1997 in English and held by 883 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 by Bill Whelan( visu )
10 editions published between 1996 and 2008 in English and held by 645 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 ( visu )
6 editions published between 2005 and 2011 in English and held by 549 libraries worldwide
Presents a performance of Irish dance and music, with American, Spanish, and Russian performers as well
Beckett on film ( visu )
7 editions published in 2001 in English and held by 266 libraries worldwide
"The comprehensive cinematic interpretation of Beckett's plays."--Container
Riverdance, the show featuring the original Dublin cast ( visu )
1 edition published in 1996 in English and held by 165 libraries worldwide
A visually stunning celebration of Irish music, song and dance
Riverdance a journey : the story behind the phenomenon ( visu )
6 editions published between 1996 and 2002 in English and held by 96 libraries worldwide
Something magical happened at the Point Theatre in Dublin on April 30th, 1994, when a 7 minute interval performance piece for the Eurovision Song Concert astonished the world. Offering a unique insight into the story behind the creation and making of Riverdance, this special video follows the show from its beginnings in Dublin, on to London and then all the way to New York as the show becomes an enormous international box office hit
Borstal Boy ( visu )
2 editions published in 2002 in English and held by 94 libraries worldwide
Sixteen year-old Irish activist, Brendan Behan, confronts inner conflicts when imprisoned in England during World War II
Riverdance live from Geneva by John McColgan( visu )
4 editions published in 2003 in English and No Linguistic Content and held by 84 libraries worldwide
A performance in Geneva featuring Irish and other traditional dance and music
Riverdance live from Beijing by Bill Whelan( visu )
2 editions published between 2010 and 2011 in English and held by 83 libraries worldwide
A live performance marking the 15th anniversary of the Riverdance franchise filmed during a 12-city tour of China in 2010
Gael force ( visu )
4 editions published between 1997 and 2000 in English and held by 37 libraries worldwide
Live performances from Ireland's greatest musicians and performers
Gael force Ireland's greatest entertainers ( visu )
2 editions published in 1998 in English and held by 34 libraries worldwide
"Stunning live performances, beautiful melodies and virtuoso playing from Ireland's greatest musicians and performers"--Container
Waiting for Godot by Samuel Beckett( visu )
4 editions published between 2001 and 2007 in English and held by 14 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( visu )
2 editions published in 2002 in English and held by 7 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
Footfalls ( visu )
1 edition published in 2002 in English and held by 7 libraries worldwide
Pacing repetitively, a daughter tends to her sick mother. In four scenes, the play dramatizes a slow fade to impalpability. What emerges is the burden of caring, the love that sustains that burden and what that love costs. In the first scene, May wrapped in tatters paces back and forth engaging in dialogue with the disembodied voice of her mother. In the second scene May's voice is subsumed into the disembodied voice of her mother who speaks for both. May continues to pace slower still as the play progresses, her footfalls magnified by the low visibility on stage, delivering a colloquy of ghosts until the fourth scene, even dimmer, has no trace of May. The attempts to describe the life or absence of a life of a shadowy figure in grey tatters are juxtaposed with the repetitive motion of the footfalls. There is an explicit relationship between the verbal text and the non-verbal elements or patterns of performance
Play ( visu )
1 edition published in 2002 in English and held by 6 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
Act without words II ( visu )
1 edition published in 2002 in English and held by 6 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
A Piece of monologue ( visu )
1 edition published in 2002 in English and held by 6 libraries worldwide
A piece of staged monologue in which the speaker tells a fragment of story about birth and death where the narrative details almost match those visible to us as the theatre set. The gap between the narrative and the set dramatizes the process of atrophy implied in the opening words "Birth was the death of him". The play dramatizes a successive loss of company: firstly in the account of the destruction of the photographs and secondly in the memories of a funeral in the rain. At another level the story opens a window on the past, a window begrimed by the accumulation of years and the speaker's eyes turn to the viewing of the inner dark
That time ( visu )
1 edition published in 2002 in English and held by 6 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 ( visu )
1 edition published in 2002 in English and held by 6 libraries worldwide
An old woman dressed in a black evening dress rocks herself in a rocking chair while listening to her own recorded voice. Similar to Footfalls, there is a slow fade to stillness and final darkness. The little counters of speech are wound, coiled inward and downward in four movements. The story tells of W's seeking for another "a little like" herself, in the outside world. In the second movement her search continues from beyond the pane of her window, her eye constantly seeking for "another living soul". In the third movement, the search ends as all the blinds are drawn. In the final movement her own blind is lowered and she goes down into the fellowship of the dead
 
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Languages
English (73)
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