Glocalisation and Adaptation in Marina Carr’s By the Bog of Cats… and Blood Wedding

Authors : Kübra VURAL ÖZBEY

Pages : 398-420

Doi:10.29110/soylemdergi.1288451

View : 61 | Download : 45

Publication Date : 2023-08-29

Article Type : Research Paper

Abstract :Embarking on her career by imitating the Beckettian style at the end of the 1980s, Marina Carr insert ignore into journalissuearticles values(1964- );, a contemporary Irish female playwright, later moves to a phase in which she rewrites ancient myths, Greek tragedies and some other classical works, including those of William Shakespeare, Leo Tolstoy and Virginia Woolf. While Carr brings the female voice and agency into sharper focus in her adaptations, her revisions integrate the global myth or story with local Irish elements. What emerges here is that Carr puts the global in conversation with the local considering that her source text stands for the universal, and her elaboration on Irish culture and troubles resonates with the particular. It is noted that, following the Celtic Tiger period in Ireland, the time Carr initiates her dramatic career, Irish drama has undergone a radical change with globalisation. However, it is the particular argument of this paper that Marina Carr’s way of rewriting corresponds with glocalisation, a term which suggests the incorporation of the local into the global. From the early stage of her writing to her recent works, Carr’s use of glocalisation in her adaptations can be pinpointed. This article explores the elements of glocalisation in Carr’s adaptation of Euripides’s Medea in By the Bog of Cats… insert ignore into journalissuearticles values(1998); and Federico García Lorca’s Blood Wedding in Blood Wedding insert ignore into journalissuearticles values(2019); as examples from two different periods of her oeuvre. Hence, this paper considers the Irish playwright’s method of adaptation in terms of glocalisation.
Keywords : Marina Carr, Kediler Bataklığında…, Kanlı Düğün, uyarlama, küyerelleşme