![]() ![]() This Dublin Fringe sell-out is a touching, evocative and funny slice of documentary theatre drawing on autobiography, archive material and rare film footage. A great piece of work, I was mesmerised from start to finish." Any contribution you can make through this Fund it campaign would make a massive difference. We are immensely grateful for any support you can give us. This is an enormous opportunity and one we felt we couldn’t pass up.īut we need your help to get us over the final hurdle. Every programmer from every festival and every theatre from across the globe will be there. The Edinburgh Fringe Festival is the biggest arts festival in the world and it’s a great honour to have been asked to be part of it, particularly since we have been asked to play at Pleasance, one of the acknowledged ‘big four’. ![]() The outlay of bringing a show to Edinburgh is huge and the sterling exchange rate is adding 40% to all costs.īut we believe it’s worth it. Peig has her bags packed and her tickets booked but she still needs help with accomadation and sustenance, venue costs and production costs. Little Wolf has worked very hard to gather together enough funds to cover staff costs. Matthew Dwyer, Theatre Programmer, Pleasance I visited the Dublin Fringe last year to scout for shows that I felt would be an exciting and succesful addition to the 2015 Edinburgh Festival Fringe and after seeing Eating Seals and Seagulls’ Eggs I thought this was exactly what I was looking for. Despite, or perhaps because of, being written in halting English, Eibhlís’ letters have an intense, poetic appeal, becoming increasingly elegiac in tone as she records and laments the relentless decline of the Island’s population.īesides the correspondence with George Chambers, she kept a diary in Irish over the years, making many detailed observations about the social life of the Islanders.Go raibh maith agat as ucht cuairt a thabhairt ar an leathnach seo.īecause Eating Seals & Seagulls’ Eggs has an invitation… The letters are unique in the context of Blasket literature, not least for being written in English, very much a second language for Eibhlís. ![]() The letters span her early adult life on the Island and the first decade of her life on the mainland, to which she moved with her family in 1942. The selection draws on the lengthy correspondence Eibhlís maintained with an English visitor to the Island, George Chambers, between 19. In 1950 he was drowned while swimming near Galway.Ĭhiefly remembered as the author of a remarkable series of letters, a selection of which was published as Letters from the Great Blasket (1978). The book’s success encouraged Muiris to take up writing full-time, but a second volume of autobiography and a novel were rejected by successive publishers. The English translation, published the same year by Thomson and Moya Llewellyn Davies, quickly established it as an international classic of autobiographical writing. The result, Twenty Years a-Growing, was acclaimed nationally on its publication in 1933. It was the success of Tomás Ó Criomhthain’s autobiographical book The Islandman, combined with the encouragement of his friend George Thomson, that prompted Muiris to undertake his own account of his formative years on the Blaskets. He was greatly aided in this by his grandfather, Eoghan (Daideo) Ó Súilleabháin, a gifted storyteller who developed a great affection for the boy. When he rejoined his family on the Island he spoke only English, but quickly became fluent in Irish. But he steadily improved his writing abilities until he was able to produce his two best known works Allagar na hInise (1928), and An tOileánach (1929), in his own hand.Īs works of high literary merit coming out of an oral culture, they are triumphs of determination to master the written word – to leave a record, as he wrote in the closing lines of An tOileánach, ‘of what life was like in my time and the neighbours that lived with me’.įollowing the death of his mother, Muiris spent the first six years of his life in Dingle. His first major book, Seanchas ón Oileán Tiar, published in 1956, was dictated to Robin Flower. He received great encouragement from the scholars Carl Marstrander and Robin Flower and later as editors from Brian Ó Ceallaigh and Pádraig Ó Siochfhradha. Having been taught to write only English in school, he was faced in his middle years with the challenge of learning to write in his native Irish in order to record the life and history of his people. A farmer and fisherman, he lived all his life on the Island. Perhaps the greatest of the Island writers. ![]()
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