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Marina Carr’s Writing for Lines of Flight in the Midlands: The Mai
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Marina Carr, one of the foremost contemporary Irish woman playwrights, came to create her own distinctive dramatic world with her second phase of writing known as the midlands plays. The Mai (1994), the first play of the trilogy of “the midlands plays,” marks a complete change from her first plays of playful satirical feminism strongly influenced by Beckettian absurd theatre. Carr’s midlands are created through a re-appropriation of patriarchal tragedy. The Mai is Carr’s subversive retelling of Electra. Her recasting of Greek tragedy in terms of contemporary Ireland marks her strategy to appropriate traditional tragedy for her own writing as a challenge and alternative to the male-dominated dramatic world of Irish playwriting. The midlands of her dramatic world can be understood in terms of Deleuze’s theorization of the middle (milieu) where becomings or writing for lines of flight, are taking place. This essay reads The Mai as Carr’s attempt to write for lines of flight for a new Irish theatre through re-writing traditional tragedy, by becoming-woman [playwright] in her own created dramatic world of the midlands.
Abstract
Marina Carr, one of the foremost contemporary Irish woman playwrights, came to create her own distinctive dramatic world with her second phase of writing known as the midlands plays. The Mai (1994), the first play of the trilogy of “the midlands plays,” marks a complete change from her first plays of playful satirical feminism strongly influenced by Beckettian absurd theatre. Carr’s midlands are created through a re-appropriation of patriarchal tragedy. The Mai is Carr’s subversive retelling of Electra. Her recasting of Greek tragedy in terms of contemporary Ireland marks her strategy to appropriate traditional tragedy for her own writing as a challenge and alternative to the male-dominated dramatic world of Irish playwriting. The midlands of her dramatic world can be understood in terms of Deleuze’s theorization of the middle (milieu) where becomings or writing for lines of flight, are taking place. This essay reads The Mai as Carr’s attempt to write for lines of flight for a new Irish theatre through re-writing traditional tragedy, by becoming-woman [playwright] in her own created dramatic world of the midlands.
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