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Women in Irish Drama
Featuring original essays by leading scholars in the field, this book explores the immense legacy of women playwrights in Irish theatre since the beginning of theTwentieth century. Chapters consider the intersecting contexts of gender, sexuality and the body in order to investigate the broader cultural, political and historical implications of representing 'woman' on the stage. In addition, a number of essays engage with representations of women by a selection of male playwrights in order to re-evaluate familiar contexts and traditions in Irish drama. Features a Foreword by Marina Carr and a useful appendix of Irish women playwrights and their works.
Marina Carr
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.
Bloody Living
This book deals with the process of negotiation with the past in the present through the plays of Marina Carr. The title frames the work, connoting the path towards destruction and the sense of lethargy acquired along the way. The book offers an in-depth and extensive reading of Carr's plays. In doing so, it surveys some of the destructive issues represented in the works and provides a series of social and cultural contexts to which the concerns in the works are related. Carr is best known for her trilogy, The Mai, Portia Coughlan and By the Bog of Cats..., and more recently Woman and Scarecrow, The Cordelia Dream and Marble. The plays are regularly concerned with notions of identity in the context of self-destruction, self-estrangement and displacement. This book applies Julia Kristeva's theory of abjection to Carr's plays in an effort to structure the loss the author identifies in the works. Themes of memory, history and myth are examined in the context of these concerns in provocative and confrontational ways.
The Theatre of Marina Carr
"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.
Theatre Stuff
Essays on contemporary Irish theatre
The Local Meets the Global in Performance
This anthology explores the ways in which theatre and performance functions at the interstices of contemporary local and global networks. Theatre and performance occurs in time and space and exists between the audience and performer as a communicative event. This local world of experience and human interactivity is not easily subsumed by global networks or commercial systems and remains a potent force of expression and, at times, resistance. The volume offers a range of critical viewpoints from which to evaluate the interrelationality of the local and the global, such as philosophical cosmopolitanism, post-colonialism, feminism, class, ethnicity, gender and the experience of the diasporic or...
The Golden Thread
This two-volume edited collection illuminates the valuable counter-canon of Irish women’s playwriting with forty-two essays written by leading and emerging Irish theatre scholars and practitioners. Covering three hundred years of Irish theatre history from 1716 to 2016, it is the most comprehensive study of plays written by Irish women to date. These short essays provide both a valuable introduction and innovative analysis of key playtexts, bringing renewed attention to scripts and writers that continue to be under-represented in theatre criticism and performance. Volume Two contains chapters focused on plays by sixteen Irish women playwrights produced between 1992 and 2016, highlighting t...
The Dreaming Body
In A Critical History of Modern Irish Drama 1891-1980 (1984), the late Professor D.E.S. Maxwell states that the drama of J.M. Synge has 'an effect of language [to] disturb the apparent solidity of his stage's material accessories, to fantasticate and mythologise character into action.' In a sense, this is what all great drama does; through the use of the fantastic and the mythic, it disturbs the 'solidity' of the world as we know it. The works presented and discussed in this volume, show how the material of the everyday is transformed by the dreams of theatre makers, as we journey forth into the 21st Century. In writings by Marina Carr, Seamus Heaney, Olwen Fouéré, Terry Eagleton, Paul Mur...
Fifty Key Irish Plays
Fifty Key Irish Plays charts the progression of modern Irish drama from Dion Boucicault’s entry on to the global stage of the Irish diaspora to the contemporary dramas created by the experiences of the New Irish. Each chapter provides a brief plot outline along with informed analysis and, alert to the cultural and critical context of each play, an account of the key roles that they played in the developing story of Irish drama. While the core of the collection is based on the critical canon, including work by J. M. Synge, Lady Gregory, Teresa Deevy, and Brian Friel, plays such as Tom Mac Intyre’s The Great Hunger and ANU Productions’ Laundry, which illuminate routes away from the mainstream, are also included. With a focus on the development of form as well as theme, the collection guides the reader to an informed overview of Irish theatre via succinct and insightful essays by an international team of academics. This invaluable collection will be of particular interest to undergraduate students of theatre and performance studies and to lay readers looking to expand their appreciation of Irish drama.
Performing Gender and Violence in Contemporary Transnational Contexts
Acknowledgements — Preface by Maria Anita Stefanelli — 1. Making Visible. Theatrical Form as Metaphor: Marina Carr and Caryl Churchill by Cathy Leeney — 2. Obscene Transformations: Violence, Women and Theatre in Sarah Kane and Marina Carr by Melissa Sihra — 3. Can the Subaltern Dream? Epistemic Violence, Oneiric Awakenings and the Quest for Subjective Duality in Marina Carr’s Marble - Interview with Marina Carr - Excerpt from Marble by Marina Carr by Valentina Rapetti — 4. “The house is a battlefield now”: War of the Sexes and Domestic Violence in Van Badham’s Kitchen and Warren Adler’s The War of the Roses - Interview with Van Badham - Excerpt from Kitchen by Van Badham ...
