Abstract
This chapter examines Marina Carr’s dramatic dialogue with Wilde’s tragedy Salome and his society comedies. Carr’s usage of these disparate texts of Wilde’s enables an analysis of the multifarious nature of Carr’s own plays, which emerge as amalgams of ancient tragedy, modern social satire, and Irish rural theatre. As a dramatist, Carr appears in this chapter as an engager with a multitude of dramatic traditions, which have important examples in the works of Oscar Wilde.
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Notes
- 1.
Marina Carr, ‘Dealing with the Dead’, Irish University Review, vol. 28, no. 1, 1998, p. 190.
- 2.
Marina Carr, ‘Dealing with the Dead’, p. 194.
- 3.
Marina Carr, ‘Dealing with the Dead’, p. 195.
- 4.
See the introduction to this book for a reference for Auden’s quote.
- 5.
Marina Carr told me this in an unpublished interview she did with me on 11 January 2018. I am extremely grateful to her for agreeing to speak to me for this chapter.
- 6.
Marina Carr, Ariel, Marina Carr: Plays 2 (London: Faber and Faber, 2009), p. 72.
- 7.
Marina Carr, The Mai, Marina Carr: Plays 1 (London: Faber and Faber, 1999), p. 185.
- 8.
Marina Carr, Portia Coughlan, Marina Carr: Plays 1 (London: Faber and Faber, 1999), p. 223. All future references will be in parenthesis.
- 9.
Clare Wallace, ‘Authentic Reproductions: Marina Carr and the Inevitable’, in The Theatre of Marina Carr: ‘Before Rules Was Made’, eds., Cathy Leeney and Anna McMullan , p. 43.
- 10.
Paula Murphy, ‘Staging Histories in Marina Carr’s Midlands Plays’, Irish University Review, vol. 36, no. 2 (2006), p. 391.
- 11.
Emilie Pine, The Politics of Memory: Performing Remembrance in Contemporary Irish Culture (New York and London: Palgrave Macmillan, 2011), p. 158.
- 12.
Russell, Richard. ‘Talking with Ghosts of Irish Playwrights Past: Marina Carr’s ‘By the Bog of Cats’ …’ Comparative Drama, vol. 40, no. 2 (2006), p. 157.
- 13.
Kelly Marsh, ‘‘This Posthumous Life of Mine’: Tragic Overliving in the Plays of Marina Carr.’ Tulsa Studies in Women’s Literature, vol. 30, no. 1 (2011), p. 118.
- 14.
Clare Wallace, ‘Authentic Reproductions: Marina Carr and the Inevitable’, p. 59.
- 15.
Friederich Nietzsche, The Birth of Tragedy, in Basic Writings of Nietzsche, ed. Thomas Kauffman (New York: Random House, 2000), p. 37.
- 16.
Thomas Mann, ‘Nietzsche’s philosophy in light of recent history’, J. Stern & T. Stern (eds.), Thomas Mann: last essays (J. Stern & T. Stern, Trans.). (pp. 141–177). New York: Alfred A. Knopf, p. 157.
- 17.
Jerusha McCormack, ‘Oscar as Aesthete and Anarchist’, in Wilde the Irishman, ed. Jerusha McCormack (New Haven and London: Yale University Press, 1998), p. 92.
- 18.
For an in-depth comparative analysis of Wilde Nietzsche’s work, see Nicholas Noble, ‘Tragedy in the Ideas of Friedrich Nietzsche and Oscar Wilde’, Inquiries Journal/Student Pulse, vol. 7, no. 08. Retrieved from http://www.inquiriesjournal.com/a?id=1059
- 19.
Katharine Worth, Oscar Wilde (Houndmills and London: Macmillan, 1983), p. 69.
- 20.
Richard Pine, The Thief of Reason: Oscar Wilde and Modern Ireland (New York: St Martin’s Press, 1995), pp. 272–273.
- 21.
Oscar Wilde, Salome, Collins Complete Works of Oscar Wilde (Glasgow: Harper Collins, 2003), p. 586.
- 22.
Marina Carr, By the Bog of Cats, Marina Carr: Plays 1 (London: Faber and Faber, 1999), p. 268. All future references will be in parenthesis.
- 23.
Oscar Wilde, Salome, p. 585.
- 24.
Quoted in Richard Pine, The Thief of Reason, p. 274.
- 25.
Oscar Wilde, Salome, p. 590.
- 26.
Ruth Robbins, Oscar Wilde (London and New York: Continuum, 2011). p. 150.
- 27.
Maxwell, Margaret. ‘‘The Claim of Eternity’: Language and Death in Marina Carr’s ‘Portia Coughlan.’’ Irish University Review, vol. 37, no. 2 (2007), p. 428.
- 28.
Oscar Wilde, Salome, p. 604.
- 29.
Ibid., p. 605.
- 30.
Michael Y. Bennett: ‘A Wilde Performance: Bunburying and Bad Faith in The Importance of Being Earnest and Salome’, in Refiguring Oscar Wilde’s Salome , ed. Michael Y. Bennet. Amsterdam and New York: Rodopi Press, 2011, p. 179.
- 31.
Marina Carr, ‘Marina Carr in Conversation with Melissa Sihra’, in Theatre Talk: Voices of Irish Theatre Practitioners, ed. Lilian Chambers (Dublin: Carysfort Press, 2001), pp. 55–63.
- 32.
Anne Fogarty, ‘Deliberately Personal?: The Politics of Identity in Contemporary Irish Women’s Writing’, Nordic Irish Studies, vol. 1 (2002), p. 13.
- 33.
Helen Davies, ‘The Trouble with Gender’, in Refiguring Oscar Wilde’s Salome, ed. Michael Y Bennet. (Amsterdam and New York: Rodopi Press, 2011), p. 66.
- 34.
Claire Bracken, Irish Feminist Futures (London: Routledge, 2015), p. 51.
- 35.
Jody Allen Randolph. ‘The Shadow Side of Modern Ireland: Marina Carr’s Midlands Tragedies.’ World Literature Today, vol. 86, no. 4 (2012), p. 48.
- 36.
Joseph Donohue, ‘Distance, Death and Desire in Salome’, in The Cambridge Companion to Oscar Wilde, ed. Peter Raby (Cambridge: Cambridge University Press, 1997), p. 134.
- 37.
Antonin Artaud, Anthology, ed. Jack Hirschman (San Francisco: City Lights Books, 1965), p. 56. Quoted in Margaret Maxwell, ‘“The Claim of Eternity”: Language and Death in Marina Carr’s “Portia Coughlan”’, p. 28.
- 38.
Mark Cuddy. ‘Tough, Impossible Love: The Theater of Marina Carr’, World Literature Today, vol. 86, no. 4 (2012), p. 52.
- 39.
Oscar Wilde, The Importance of Being Earnest, Collins Complete Works of Oscar Wilde (Glasgow: Harper Collins, 2003), p. 370.
- 40.
Ibid., p. 409.
- 41.
See Chap. 2. for more on this topic.
- 42.
Nancy Finn, and Marina Carr. ‘Theater in Eleven Dimensions: A Conversation with Marina Carr’ World Literature Today, vol. 86, no. 4 (2012), p. 43.
- 43.
Marina Carr, ‘Introduction’, Marina Carr: Plays 1 (London: Faber and Faber, 1999), p. ix.
- 44.
Eamonn Jordan, Dissident Dramaturgies: Contemporary Irish Drama (Dublin and Portland, 2010), p. 159.
- 45.
Emily Bronte, Wuthering Heights, revised edition (New York: Norton Critical edition, 2003) pp. 63–4.
- 46.
Roisin O’Gorman, ‘Review of Woman and Scarecrow’, Theatre Journal, vol. 59, no. 1 (March 2007), p. 103.
- 47.
Anthony Roche, Contemporary Irish Drama, second edition (New York and London: Palgrave Macmillan, 2009), p. 257.
- 48.
Marina Carr, Woman and Scarecrow (London: Faber and Faber, 2006), p. 12. All future references will be in parenthesis.
- 49.
Anthony Roche, Contemporary Irish Drama, p. 257.
- 50.
Joseph Lennon, ‘“Singin’ Sprees” and Death Songs: Marina Carr’s Lyrical Loss’, New Hibernia Review, vol. 20, no. 4 (Winter/Geimhreadh 2016), p. 68.
- 51.
Kelly Marsh, ‘‘This Posthumous Life of Mine’: Tragic Overliving in the Plays of Marina Carr’, p. 125.
- 52.
Anthony Roche, Contemporary Irish Drama, p. 259.
- 53.
Marina Carr, Cordelia Dream, Marina Carr: Plays 2 (London: Faber and Faber, 2009) p. 236.
- 54.
Marina Carr, Marble, Marina Carr: Plays 2 (London: Faber and Faber, 2009), p. 312.
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Price, G. (2018). Marina Carr: ‘All Women Become Like Their Mothers; That Is Their Tragedy. No Man Does, That’s His’. In: Oscar Wilde and Contemporary Irish Drama. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-93345-0_6
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