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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.
Set in the mysterious landscape of the bogs of rural Ireland, Carr's lyrical and timeless play tells the story of Hester Swane, an Irish traveller with a deep and unearthly connection to her land. Tormented by the memory of a mother who deserted her, Hester is once again betrayed, this time by the father of her child, the man she loves. On the brink of despair, she embarks on a terrible journey of vengeance as the secrets of her tangled history are revealed. 'A piece of poetic realism steeped in the past... Carr has an extraordinary ability to move between the mythic and the real.' Guardian 'A great play... a great work of poetry... the word should soon carry across both sides of the Atlantic.' Independent By the Bog of Cats premiered at the Abbey Theatre, Dublin, in 1998. It was revived at Wyndham's Theatre, London, in November 2004.
Winner of the Susan Smith Blackburn Prize, 1997. 'Carr's harrowing play has the scale and anguish of myth, and the immediacy of a contemporary anecdote.' Independent on Sunday There's a wolf tooth growin in me heart and it's turnin me from everywan and everthin I am. Portia Coughlan lives life in monstrous limbo, haunted by a yearning for her spectral twin brother lying at the bottom of the Belmont river, unable to find any love for her wealthy husband and children, seeking solace in soulless affairs, deeply afraid of what she might do. Portia Coughlan premiered on the Abbey Theatre's Peacock Stage, Dublin, in April 1996 and transferred to the Royal Court Theatre, London, in May that year. It was revived at the Almeida Theatre, London, in October 2023. 'Taut and haunting, funny and sad . . . Carr plays with time and place to resonant, ultimately devastating effect.' The Stage 'One of the most important Irish plays of the twentieth century.' Arts Review 'Marina Carr goes to a deep place that has not just to do with society now but that touches an inner tragedy of existence. The female quality of her writing comes through not only in the way she writes about women, it's in the physicality in her writing. She is right in there with the cycles of life, with the blood and the dirt.' Joyce McMillan, New York Times
"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.
Troy has fallen. It’s the end of war and the beginning of something else. Something worse. As the cries die down after the final battle, there are reckonings to be made. Humiliated by her defeat and imprisoned by the charismatic victor Agamemnon, the great queen Hecuba must wash the blood of her buried sons from her hands and lead her daughters forward into a world they no longer recognize. Agamemnon has slaughtered his own daughter to win this war. But now another sacrifice is demanded…In a world where human instinct has been ravaged by violence, is everything as it seems in the hearts of the winners and those they have defeated?
Marina Carr and Greek Tragedy examines the feminist transposition of Greek tragedy in the theatre of the contemporary Irish dramatist Marina Carr. Through a comparison of the plays based on classical drama with their ancient models, it investigates Carr’s transformation not only of the narrative but also of the form of Greek tragedy. As a religious and political institution of the 5th-century Athenian democracy, tragedy endorsed the sexist oppression of women. Indeed, the construction of female characters in Greek tragedy was entirely disconnected from the experience of womanhood lived by real women in order to embody the patriarchal values of Athenian democracy. Whether praised for their passivity or demonized for showing unnatural agency and subjectivity, women in Greek tragedy were conceived to (re)assert the supremacy of men. Carr’s theatre stands in stark opposition to such a purpose. Focusing on women’s struggle to achieve agency and subjectivity in a male-dominated world, her plays show the diversity of experiencing womanhood and sexist oppression in the Republic of Ireland, and the Western societies more generally. Yet, Carr’s enduring conversation with the classics in her theatre demonstrates the feminist willingness to alter the founding myths of Western civilisation to advocate for gender equality.
THE STORY: An accomplished, beautiful forty-year-old woman, The Mai has always sought an exceptional life. Robert, her cellist husband, has always felt stifled by The Mai's ideals of perfection. After seventeen years he leaves her, whereupon she se
THE STORY: A passionate woman--mother of eight children and wife to a remorseful husband--now facing death, looks back over her life and asks what could have been. Pathos and bitter humor mix in this powerful play from one of Ireland's leading dramat
THE STORY: A premonition of impending disaster precedes a collision between the conscious and subconscious lives of two married couples. Hidden fantasies and passions conflict with the calls of friendship and fidelity. The characters' everyday exis
The first collection of plays by Marina Carr introduces the work of a major new voice in playwriting. Low in the Dark 'One of the most exciting, new and absolutely original aspects of Carr's writing is the manner in which the sexism of the language and religious imagery is exposed... Marina Carr is a playwright to be watched.' Sunday Tribune The Mai 'The writing is at once gentle and raucous... capable of articulating deep-seated woes and resentments in a manner you rarely find outside Eugene O'Neill.' Observer Portia Coughlan 'A play of precocious maturity and accomplishment.' Irish Times ' Portia Coughlan packs a hell of a punch. It hurts to look at it. But it has to be seen.' Irish Independent By the Bog of Cats... 'A poetic realism steeped in the past... Carr has an extraordinary ability to move between the mythic and the real.' Guardian 'A great play... a great work of poetry... the word should soon carry across both sides of the Atlantic.' Independent