Sixteen Possible Glimpses; Phaedra Backwards; The Map of Argentina; Hecuba; Indigo Marina Carr. fi II.NTEMI's HARW II, Wooloo Marina Carr: Plays 3. Sixteen Possible Glimpses • Phaedra Backwards The Map of Argentina • Hecuba • Indigo ...
Author: Marina Carr
Publisher: Faber & Faber
This third richly varied collection of plays by Marina Carr was published to coincide with the Royal Shakespeare Company's premiere of Hecuba at the Swan Theatre, Stratford-upon-Avon, in September 2015. Sixteen Possible Glimpses imagines sixteen fleeting moments in Anton Chekhov's short life and work. Phaedra Backwards retells the Phaedra myth to discover what shaped her. The Map of Argentina offers a meditation on love and what happens when it is denied, or pursued and hunted down. Hecuba was written in reaction to the bad press this Trojan queen receives, and reimagines how she may have suffered and reacted. Indigo is a dark and passionate romance amongst fairies, demons, ghouls and every sort of fantastic creature out of folklore and myth.
"Sixteen possible glimpses imagines sixteen fleeting moments in Anton Chekhov's short life and work.
Author: Marina Carr
Publisher: Faber & Faber Plays
"Sixteen possible glimpses imagines sixteen fleeting moments in Anton Chekhov's short life and work. Phaedra backwards retells the Phaedra myth to discover what shaped her. The map of Argentina offers a meditation on love and what happens when it is denied, or pursued and hunted down. Hecuba was written in reaction to the bad press this Trojan queen receives, and reimagines how she may have suffered and reacted. Indigo is a dark and passionate romance amongst fairies, demons, ghouls and every sort of fantastic creature out of folklore and myth. " -- Back cover.
Marina Carr, Indigo, in Plays Three (London: Faber & Faber, 2015), p. 337. Marina Carr, Plays Three, p. 263. Marina Carr Interview with Melissa Sihra, Unpublished, Dublin, 7 January 2018. The first public reading of an excerpt of Indigo ...
Author: Melissa Sihra
This book locates the theatre of Marina Carr within a female genealogy that revises the patriarchal origins of modern Irish drama. The creative vision of Lady Augusta Gregory underpins the analysis of Carr’s dramatic vision throughout the volume in order to re-situate the woman artist as central to Irish theatre. For Carr, ‘writing is more about the things you cannot understand than the things you can’, and her evocation of ‘pastures of the unknown’ forms the thematic through-line of this work. Lady Gregory’s plays offer an intuitive lineage with Carr which can be identified in their use of language, myth, landscape, women, the transformative power of storytelling and infinite energies of nature and the Otherworld. This book reconnects the severed bridge between Carr and Gregory in order to acknowledge a foundational status for all women in Irish theatre.
Marina Carr, Marina Carr: Plays Three (London: Faber & Faber, 2015), x. Phaedra Backwards, in Marina Carr: Plays Three, 75. Ibid. Ibid. Carr referred to Phaedra Backwards as “feminist” in her “John McGahern Annual Lecture”, ...
Author: Eamonn Jordan
This Handbook offers a multiform sweep of theoretical, historical, practical and personal glimpses into a landscape roughly characterised as contemporary Irish theatre and performance. Bringing together a spectrum of voices and sensibilities in each of its four sections — Histories, Close-ups, Interfaces, and Reflections — it casts its gaze back across the past sixty years or so to recall, analyse, and assess the recent legacy of theatre and performance on this island. While offering information, overviews and reflections of current thought across its chapters, this book will serve most handily as food for thought and a springboard for curiosity. Offering something different in its mix of themes and perspectives, so that previously unexamined surfaces might come to light individually and in conjunction with other essays, it is a wide-ranging and indispensable resource in Irish theatre studies.
Disorder and turbulence permeate her plays , and lend to them a grotesque and carnivalesque dimension , which can be monstrous or poignant , but is absolutely compelling . 3 1 Marina Carr , Plays 1 , ( London : Faber & Faber , 1999 ) ...
Author: Cathy Leeney
Publisher: Peter Lang
"This is the first collection of articles to be published on the theatre of Marina Carr, a major contemporary Irish playwright whose work is highly acclaimed in Ireland and internationally for its poetic energy and its remarkable theatrical imagination." "These essays examine Carr's highly original voice, and place her plays in the context of current theatre in Ireland and abroad. They raise lively debate on contemporary representation of 'Irishness' on the stage, on the current state of Irish theatre, on the impact of female authorship on the canon of Irish theatre, and on Carr's portrayal of characters who are fundamentally at odds with the world around them."--BOOK JACKET.
Caldwell, Lucy (2016), Three Sisters, London: Faber and Faber. Caldwell, Lucy (2017), 'On Writing Three Sisters', in Linda Anderson and Dawn Miranda Sherratt-Bado (eds), ... Carr, Marina (2015), Plays 3, London: Faber and Faber.
Author: Patrick Lonergan
Publisher: Bloomsbury Publishing
Drawing on major new archival discoveries and recent research, Patrick Lonergan presents an innovative account of Irish drama and theatre, spanning the past seventy years. Rather than offering a linear narrative, the volume traces key themes to illustrate the relationship between theatre and changes in society. In considering internationalization, the Troubles in Northern Ireland, the Celtic Tiger period, feminism, and the changing status of the Catholic Church in Ireland, Lonergan asserts the power of theatre to act as an agent of change and uncovers the contribution of individual artists, plays and productions in challenging societal norms. Irish Drama and Theatre since 1950 provides a wide-ranging account of major developments, combined with case studies of the premiere or revival of major plays, the establishment of new companies and the influence of international work and artists, including Tennessee Williams, Chekhov and Brecht. While bringing to the fore some of the untold stories and overlooked playwrights following the declaration of the Irish Republic, Lonergan weaves into his account the many Irish theatre-makers who have achieved international prominence in the period: Samuel Beckett, Siobhán McKenna and Brendan Behan in the 1950s, continuing with Brian Friel and Tom Murphy, and concluding with the playwrights who emerged in the late 1990s, including Martin McDonagh, Enda Walsh, Conor McPherson, Marie Jones and Marina Carr. The contribution of major Irish companies to world theatre is also examined, including both the Abbey and Gate theatres, as well as Druid, Field Day and Charabanc. Through its engaging analysis of seventy years of Irish theatre, this volume charts the acts of gradual but revolutionary change that are the story of Irish theatre and drama and of its social and cultural contexts.
Melissa Sihra, unpublished interview with Marina Carr, Dublin, May 2001. ... 3 32. Ibid., p. 374. Brian Friel, Brian Friel: Plays: Two (London: Faber and Faber, 1999), P- 275Eileen Battersby, 'Marina of the Midlands', Irish Times, ...
Author: Stephen Wilmer
Publisher: A&C Black
A collection of essays by many distinguished contributors, focused on the portrayal of rebel women in ancient Greek drama Ancient Greek drama provides the modern stage with a host of powerful female characters who stand in opposition to the patriarchal structures that seek to limit and define them. For contemporary theatre directors their representation serves as a vehicle for examining and illuminating issues of gender, power, family and morality, as germane today as when the plays were first written. Rebel Women brings together essays by leading writers from across different disciplines examining the representation of ancient Greek heroines in their original contexts and on today's stage. Divided into three sections, it considers in turn international productions, Irish versions, and studies of the original texts. The articles explore how such characters as Iphigenia, Medea, Antigone and Clytemnestra have been portrayed in recent times and the challenges and provocation they offer to both contemporary audiences and dramatists alike. 'Seamus Heaney and Athol Fugard are brought together as contributors by the inspiration that ancient Greek tragedy has offered to them both. There are offerings here on Iphigenia, Medea, Antigone, Clytemnestra, film, drama, Greece, Russia ... and especially Ireland. Amidst all this variety, the level of interest and of scholarship are consistently high.' Oliver Taplin, Professor of Classical Languages and Literature, Oxford University
22 Sophocles, The Three Theban Plays: Antigone, Oedipus the King, Oedipus at Colonus, trans. Robert Fagles (Harmondsworth: Penguin Books, 1982), ... Marina Carr's By the Bog of Cats... and On Raftery's Hill”, 243–62, in the same volume.
Author: Paschalis Nikolaou
Publisher: Cambridge Scholars Publishing
Encounters in Greek and Irish Literature brings together literary experts in two traditions and some contemporary novelists writing in them: this distinctive group includes Katy Hayes, Mia Gallagher, Deirdre Madden, Paraic O’Donnell, Christos Chrissopoulos, Panos Karnezis, Sophia Nikolaidou, and Ersi Sotiropoulos. Their work is presented in context, not only through excerpts from published and unpublished fiction, but also through eight self-reflective essays that enhance our understanding of these authors’ themes and modes. All these critical texts originate from a unique gathering of scholars and creative talent held at the Ionian University, Corfu, in October 2017, predominantly exploring Greek and Irish prose writing and the relationships between them. This volume paints a more complete picture through added scenes from drama, poetry and translation, and through considerations of the history and associations of two literatures at the edges of Europe. Translation is integral to the dialogues fostered; the selected works by the Irish and Greek writers can be read in both Greek and English, a manifestation of, and a further point in, the reception of these authors beyond Greece and Ireland. The book opens with a comprehensive introductory essay by Joanna Kruczkowska, and further insights into the creative mind and aspects of publishing are provided through a roundtable with the authors recorded at the time of the festival. This material further contributes to a remarkably structured look at the business of writing and the workings of two literary systems.
Marina Carr, Introduction in Plays 3 (London: Faber & Faber, 2015), pp. ix–x. ... See Shirley Carr Mason, '“Foul Wrinkled Witch”: Superstition, Scepticism, and Margaret of Anjou in Shakespeare's Richard III', Cahiers Élisabéthains 52.1 ...
Author: Nicholas Taylor-Collins
This book shows that Shakespeare continues to influence contemporary Irish literature, through postcolonial, dramaturgical, epistemological and narratological means. International critics examine a range of contemporary writers including Eavan Boland, Marina Carr, Brian Friel, Seamus Heaney, John McGahern, Frank McGuinness, Derek Mahon and Paul Muldoon, and explore Shakespeare’s tragedies, histories and comedies, as well as his sonnets. Together, the chapters demonstrate that Shakespeare continues to exert a pressure on Irish writing into the twenty-first century, sometimes because of and sometimes in spite of the fact that his writing is inextricably tied to the Elizabethan and Jacobean colonization of Ireland. Contemporary Irish writers appropriate, adopt, adapt and strategize through their engagements with Shakespeare, and indeed through his own engagement with the world around him four hundred years ago.
'Outside the Box: The Female Spectator, The Fair Penitent, and the Kelly Riots of 1747'. Theatre Journal 57 (2005): 33–55. Carr, Marina. On Raftery's Hill. London: Faber & Faber, 2000. Carr, Marina. 'Hecuba'. In Marina Carr: Plays 3.
Author: Lisa Fitzpatrick
This book investigates the representation of rape in British and Irish theatre since the second wave of the Women’s Movement. Mainly focusing on the period from the 1990s to the present, it identifies key feminist debates on rape and gender, and introduces a set of ideas about the function of rape as a form of embodied, gendered violence to the analysis of dramaturgical and performance strategies used in a range of important and/or controversial works. The chapters explore the dramatic representation of consent; feminist performance strategies that interrogate common attitudes to rape and rape survivors; the use of rape as an allegory for political oppression; the relationships of vulnerability, eroticism and affect in the understanding and representation of sexual violence; and recent work that engages with anti-rape activism to present women’s personal experiences on stage.