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Tyrone Productions

Works: 56 works in 142 publications in 1 language and 4,041 library holdings
Genres: Film adaptations  Nonfiction films  Short films  Drama  Filmed dance  Music videos  Television adaptations  Internet videos  Documentary films  Educational films 
Roles: Producer
Classifications: PR6003.E282, 793.319415
Publication Timeline
Publications about Tyrone Productions
Publications by Tyrone Productions
Most widely held works by Tyrone Productions
The best of Riverdance by Bill Whelan( visu )
44 editions published between 1995 and 2011 in English and No Linguistic Content and held by 2,270 libraries worldwide
Presents a performance of Irish dance and music, with American, Spanish, and Russian performers as well
Beckett on film by Samuel Beckett( visu )
20 editions published between 2000 and 2002 in English and held by 1,264 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 featuring the original Dublin cast ( visu )
1 edition published in 1996 in English and held by 156 libraries worldwide
A visually stunning celebration of Irish music, song and dance
Borstal Boy ( visu )
2 editions published in 2002 in English and held by 98 libraries worldwide
Sixteen year-old Irish activist, Brendan Behan, confronts inner conflicts when imprisoned in England during World War II
Gael force by Sinéad O'Connor( visu )
8 editions published between 1997 and 2000 in English and held by 47 libraries worldwide
Live performances from Ireland's greatest musicians and performers
Gael force Ireland's greatest entertainers ( visu )
1 edition published in 1998 in English and held by 31 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
Samuel Beckett's Happy days by Samuel Beckett( visu )
3 editions published in 2002 in English and held by 13 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
Endgame by Samuel Beckett( visu )
2 editions published between 2001 and 2002 in English and held by 9 libraries worldwide
Endgame is the term used to describe an ending in chess where the outcome is already known. Beckett, an avid chess fan, saw the parallel between the chess endgame and the final stages of life. He realized that death is the final outcome and that regardless of how a person plays the game, he or she will die. The imagery of chess is presented in the play through Clov and Hamm who are red and Nagg and Nell who are white. The title articulates a powerful drama of waiting as reality and as a metaphor for infinity. The stage setting is integral to the play as it is seen as a skull where the two windows on the back wall form the eye sockets of this skull, and the characters symbolize the brain and memory. The set becomes a metaphor for an ageing and decaying mind. The subject of Endgame is whether Clov will leave Hamm. Their relationship, which alternates between slave/master and son/father, is also a mutually beneficial one. Hamm provides food and shelter, whereas Clov provides legs and eyesight. Part of the problem with Clov leaving is that doing so is an act of suicide. If he leaves Hamm, he will not have any food, and without someone to feed him, Hamm will die as well. Beckett highlights one theme in particular, that of "finishing". This theme is presented right in the opening moments, with Clov saying, "Finished, it's finished, nearly finished, it must be finished." Hamm later echoes this same theme. However, what soon becomes clear is that things remain unfinished; where actually finishing something represents death. Death as a final ending is absent from the plays. The characters must go on waiting for what will never come, declining into old age and senility, becoming helpless, dependent and decrepit. Daily rituals are performed ad nauseum "Why this farce, day after day" but are a necessity to satisfy the need for affirmation of existence. It is interesting and important that Nell dies. Although Hamm asks Clov to kill him he is unable perform the act. Thus Nell is the only character able to escape this world
Footfalls by Samuel Beckett( 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
A Piece of monologue by Samuel Beckett( visu )
2 editions published in 2002 in English and held by 7 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
Rockaby the documentary by Samuel Beckett( visu )
2 editions published in 2002 in English and held by 7 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
Ohio impromptu by Samuel Beckett( visu )
2 editions published in 2002 in English and held by 7 libraries worldwide
Jeremy Irons plays both 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, "there is nothing left to tell" and they are left with the darkness and the silence of their own internal worlds
Not I by Samuel Beckett( visu )
2 editions published in 2002 in English and held by 7 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
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
Play by Samuel Beckett( 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
Rough for theatre II ( visu )
1 edition published in 2002 in English and held by 6 libraries worldwide
This piece features three characters, two men A and B who try to assess the life of C who is standing motionless, back to the audience and ready to jump out the window - Here, Beckett indicts written languages as inadequate to the task of describing or valuing human experience in meaningful terms - DRAMA - VID 2667; Beckett on film
Rough for theatre I ( visu )
1 edition published in 2002 in English and held by 6 libraries worldwide
Rough I features a blind man and a cripple who meet by chance and consider the possibility of joining forces to unite sight and mobility in the interests of survival
Samuel Beckett's That time by Samuel Beckett( visu )
in English and held by 1 library worldwide
That Time, written in English between 1974 and 1975, 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. He is bombarded with three voices representing three different times in his past. Each voice, 'A', 'B', and 'C' recall separate stories. 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; the third offers a pattern repeated three times. Time and visions of nothingness burden each voice. At the end, the isolated head smiles at the prospect of happiness
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