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"Carr, Marina"
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“Writing is essentially a very, very innocent thing”: In Conversation with Marina Carr
Marina Carr participated in the Conference \"Irish Itinerary 2018 (EFACIS): Trauma and Identity in Contemporary Irish Literature and Culture\" at the University of La Rioja. The following interview took place there on 13 February 2018, covering issues of gender, trauma, identity and travellers in an Irish context. Greek tragedy and myth, and Spanish adaptations of Marina Carr's plays and creative writing were discussed as well. Carr offers a number of insightful responses and shares her views on gender, relationships and her motivations to write. Key Words. Marina Carr, Theatre, Gender, Greek Tragedy, Trauma, Irish Travellers and Creative Writing. Marina Carr participo en el Itinerario Irlandes 2018 de la Federacion Europea de Asociaciones y Centros de Estudios Irlandeses (EFACIS) titulado \"Trauma e identidad en la literatura y cultura irlandesas contemporaneas\", celebrado en la Universidad de La Rioja. La entrevista siguiente tuvo lugar alli el 13 de febrero de 2018 y se le hicieron preguntas acerca de genero, trauma, identidad y nomadas en el contexto irlandes. Tambien se trataron aspectos de tragedia y mitos griegos, y las adaptaciones de sus obras teatrales al espanol y escritura creativa. Carr ofrece unas respuestas muy clarificadoras y comparte de manera sincera sus opiniones sobre cuestiones de genero, relaciones humanas y sus motivaciones como escritora. Palabras clave. Marina Carr, teatro, genero, tragedia griega, trauma, nomadas irlandeses y escritura creativa.
Journal Article
Greek Tragedy as a Window on the Dispossessed
In this article Steve Wilmer discusses adaptations of Greek tragedy that highlight the plight of the displaced and the dispossessed, including Janusz Glowacki's Antigone in New York, Marina Carr's Hecuba, and Elfriede Jelinek's Die Schutzbefohlenen, which is notably emblematic among appropriations of ancient Greek plays in referencing the problems facing refugees in Europe. He considers how this latter play has been directed in a variety of ways in Germany and Austria since 2013, and how in turn it has been reappropriated for new dramatic performances to further investigate the conditions of refugees. Some of these productions have caused political controversy and one of them has even been physically attacked by a right-wing group. Steve Wilmer is Professor Emeritus of Drama at Trinity College Dublin. He is the co-editor of ‘Theatre and Statelessness in Europe’ for Critical Stages (2016), Resisting Biopolitics: Philosophical, Political, and Performative Strategies (Routledge, 2016), and Deleuze and Beckett (Palgrave Macmillan, 2015). He also edited a special issue of Nordic Theatre Studies in 2015 titled ‘Theatre and the Nomadic Subject’.
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Resisting Neoliberalism and Patriarchy: Marina Carr's On Raftery's Hill and Lola Arias's \La escuálida familia\
If we look at a possibly speculative dystopic world in which all that remains is a single family invested in self-destruction through violence and incest, can we see a critique of the patriarchal narratives that have perpetuated discrimination and abuse in turn of the current century society? Maybe, maybe not. Maybe what we've got is just a story of one dysfunctional family at the end of time. But take two such contemporaneous plays from the dawn of the millennium that each recreate that same horrifying premise, one from Ireland, one from Argentina, and the viability of such a premise deepens. Here, the author explains how the structure of \"modern\" ethical content and postmodern form infuse the plays of the study.
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Oppression, Repression, and Depression in 'The Mai'
This research paper presents an extremely pessimistic view of Irish womanhood and the place of women in the contemporary Irish society. Women's oppression, repression and depression are not a new topic in literature, but in the past it was another factor in the continuation of male dominance and women's inferiority. This paper explores the hopes and disappointments of four generations of women within one Irish family. Marina Carr's play The Mai explores the oppression, repression, and depression of four generations of women who contempt their mistake. The life of women is full of sorrow because of their husband's infidelity. They are totally devoted to their husbands. For instance, the protagonist of the play knows that her husband is unfaithful to her, in spite of that, she loves him and waits for him. This presents an extremely pessimistic view of Irish womanhood and the place of women in the society. Moreover, this paper uses exploratory research method where it discusses problems and questions. It deals with qualitative research design because it concerns with human nature and behavior. Keywords Irish womanhood, contemporary Irish society, women's oppression, The Mai, Marina Carr.
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Rewriting Hippolytus: Hybridity, Posthumanism, and Social Politics in Marina Carr's Phaedra Backwards
This article sheds light on Irish playwright Marina Carr's 2011 Phaedra Backwards, which premiered at the McCarter Theater in Princeton, as a particularly dense and multidirectional twenty-first century retelling of the Hippolytus myth. The centrality of the Minotaur in the drama, the role of technology in his creation, the place of nature in human life, and certain surprising motifs, such as the eating of daffodils, are examined through the lens of posthumanism to show how Carr's play invites reflection on nonconformism in society and on human damage to the natural world.
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Frames and Framing: Marina Carr’s The Cordelia Dream and its Italian Translation
After a brief introduction to “frame” and “framing” in various disciplines, I will attempt to show that these notions can be applied to the analysis of the play The Cordelia Dream (2008) by the Irish playwright Marina Carr. I will analyse the various interrelated frames which compose the macro-construct and cognitive worldview of the play. This play is a contemporary reworking of William Shakespeare’s King Lear in which I highlight similarities, dissimilarities and references. In moving from one frame to another, in fact, a conceptual activation process is started, and it partly revises the ‘acquired knowledge’ underlying Carr’s play, such as the father-daughter relationship and the reading of King Lear. Finally, I will apply frame analysis to the process of translation in the Italian version, highlighting the various translational strategies adopted.
Journal Article
“Do not destroy me before my time”: Iphigenia’s Versions and Appropriations in Contemporary Irish Theatre
Iphigenia in Aulis has been adapted by Irish contemporary playwrights such as Marina Carr, Edna O’Brien or Andy Hinds. This article offers an introductory analysis of the reasons behind the Irish interest towards the Greek tragedy, followed by a comparative study of the three versions mentioned. The identification of the overarching themes will unveil the spaces for transformation: while Carr focuses on the depiction of a modern and corrupt Agamemnon and the rewriting of strong women, O’Brien adds extra plots and characters to highlight feminist voices, and Hinds eliminates, adds and relocates lines from the original play, to write a more performable version. Conclusions reveal the rewriting of the concept of sacrificial women, and present the three plays as relevant contributions to the reception of Euripides in Ireland.
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The Evolution of Female Characters From Antiquity to Modernity: An Examination of Marinna Carr's and Carol Lashof's Adaptations of Classical Mythology
Literature relies heavily on mythology. Myths are stories of deities, monsters or immortals which are transformed from one generation to the other. In addition to documenting the religious and cultural experiences of a specific community, myths also outline the consequent literary, artistic and dramatic customs. Some Greek myths have survived for thousands of years because they accurately depict historical events, cultural values, and trends. Among the most famous classical myths are the myths of Medusa and Medea. As for the myth of Medusa, the earliest known record was found in Theogony (700BC) by Hesiod (8 th-7th century BC). A later version of the Medusa myth was made by the Roman poet Ovid (43BC –17/18AD), in his “Metamorphoses” (3-8 AD). Then again, Medea is a tragedy produced in 431 BC by the Greek playwright Euripides(480–406BC) based on the myth of Jason and Medea. Both Medusa and Medea are among the most fascinating and complex female protagonists in Greek mythology which have captivated many writers and playwrights for ages. In the twentieth century, there were many adaptations of both mythological figures; among these adaptations were those made by contemporary American and Irish women playwrights like Carol Lashof (1956-) and Marinna Carr (1964-). This paper examines the myths of Medusa and Medea and analyses the ways these myths are borrowed, refashioned and exploited in Lashof’s Medusa’s Tale (1991) and Carr’s By the Bog of Cats (1998). Both playwrights explore hidden dimensions of the traditional myths, combining elements from the old and modern worlds.
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