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Eigse Michael Hartnett Literary & Arts Festival - Take a Chance 2
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Walls and Windows: Rosaleen McDonagh on her new Abbey play
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Annika Cassidy, Diarmuid Donohoe and
Kamila Dydyna whose short films are
(20-25 July).
The Wake (Annika Cassidy)
Three young brothers attempt to navigate their grandmother’s wake when a bitter rivalry breaks out over who will get to say the prayers of the faithful at the funeral mass.
Signal (Diarmuid Donohoe)
Two young boys set out to build a machine that can speak to the energy that created the universe. During a fight they accidentally break the machine and reveal the tragic story that had motivated them all along.
Debutante (
Kamila Dydyna)
Debutante is a short drama set in the community of Irish Jehovah’s Witnesses. 18-year-old Meg is struggling to reconcile her heartfelt commitment to the religion with the growing pain of shunning her father, a disfellowshipped member of the congregation. An evening alone with her boyfriend Sam, an equally devoted young Witness, turns into an emotional and sexual transgression. In an effort to repair her relationship with Jeh
In the beginning, everything was live. We sat around the fire, banged bits of bone together and howled tunefully at the unforgiving moon. Then some bright spark picked up a charred stick and used it to draw the first rudimentary picture on a cave wall. Fast forward 40 millennia, 2001: a Space Odyssey-style, and we continue to make a distinction between the thrilling evanescence of live performance and the profoundly different experience of recorded art, whether that record has been made in burnt wood or on 4K video.
Covid has caused us to think again about the differing values we apply to the live experience and the recorded one. Much of the focus during the pandemic has been on how we miss being in crowds at live events, but thereâs also the emotional charge of watching or hearing something in the actual moment, even if youâre not physically present. Call it immediacy or authenticity, unpredictability or uniqueness, but itâs part of the reason people pay more to
In the beginning, everything was live. We sat around the fire, banged bits of bone together and howled tunefully at the unforgiving moon. Then some bright spark picked up a charred stick and used it to draw the first rudimentary picture on a cave wall. Fast forward 40 millennia, 2001: a Space Odyssey-style, and we continue to make a distinction between the thrilling evanescence of live performance and the profoundly different experience of recorded art, whether that record has been made in burnt wood or on 4K video.
Covid has caused us to think again about the differing values we apply to the live experience and the recorded one. Much of the focus during the pandemic has been on how we miss being in crowds at live events, but thereâs also the emotional charge of watching or hearing something in the actual moment, even if youâre not physically present. Call it immediacy or authenticity, unpredictability or uniqueness, but itâs part of the reason people pay more to
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