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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
Examination of the soul and spirituality in Irish theatre
"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.
The Art of Experience provides an interdisciplinary analysis of selected plays from Ireland’s premier female playwright, Marina Carr. Dagmara Gizło explores the transformative impact of a theatrical experience in which interdisciplinary boundaries must be crossed. This book demonstrates that theatre is therapeutic and therapy is theatrical. The role of emotions, cognitions, and empathy in the theatrical experience is investigated throughout. Dagmara Gizło utilises the methodological tools stemming from modern empirically grounded psychology (such as cognitive-behavioural therapy or CBT) to the study of theatre’s transformative potential. This book will be of great interest to students and scholars of theatre, performance, and literature, and will be a fascinating read for those at the intersection of cognitive studies and the humanities.
Once a country of emigration and diaspora, in the 1990s Ireland began to attract immigration from other parts of the world: a new citizenry. By the first decade of the twenty-first century, the ratio between GDP and population placed Ireland among the wealthiest nations in the world. The Peace Agreements of the mid-1990s and the advent of power-sharing in Northern Ireland have enabled Ireland's story to change still further. No longer locked into troubles from the past, the Celtic Tiger can now leap in new directions. These shifts in culture have given Irish literature the opportunity to look afresh at its own past and, thereby, new perspectives have also opened for Irish Studies. The contributors to this volume explore these new openings; the essays examine writings from both now and the past in the new frames afforded by new times.
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
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.
This work provides an overview of Irish theatre, read in the light of Ireland's self-definition. Mediating between history and its relations with politics and art, it attempts to do justice to the enabling and mirroring preoccupations of Irish drama.
Playing for time explores connections between theatre time, the historical moment and fictional time. Geraldine Cousin persuasively argues that a crucial characteristic of contemporary British theatre is its preoccupation with instability and danger, and traces images of catastrophe and loss in a wide range of recent plays and productions. The diversity of the texts that are examined is a major strength of the book. In addition to plays by contemporary dramatists, Cousin analyses staged adaptations of novels, and productions of plays by Euripides, Strindberg and Priestley. A key focus is Stephen Daldry's award-winning revival of Priestley's An Inspector Calls, which is discussed in relation both to other Priestley 'time' plays and to Caryl Churchill's apocalyptic Far Away. Lost children are a recurring motif: Bryony Lavery's Frozen, for example, is explored in the context of the Soham murders (which took place while the play was in production at the National Theatre), whilst three virtually simultaneous productions of Euripides' Hecuba are interpreted with regard to the Beslan massacre of schoolchildren.
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.