마리나 카(Marina Carr)의 극에 나타난 젠더의 재현과 극적 형식 사이의 상관관계 연구
A Study on the Relation between the Presentation of Gender and Dramatic Form in Marina Carr's Plays
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n Irish drama since the early 1990s, there has been a tension between the imaginative spaces generated in theatres, and the most intimate physical space of all – the human body. I want in this paper to examine and explore how the tension present the gender problem within Marina Carr's plays. We see an increase in the number of Irish plays that reproduce the apparently old-fashioned gendered tropes, whereby masculinity and eloquence, and feminity and embodiment, are strongly associated with each other. Marina Carr's play takes those presentations of women, and works them through to nation as woman – but turns that representation against itself. Low in the Dark explores the myths and misconceptions between the sexes. In Bender and Binder's world, men are a necessary irritant. Their time is spent reliving their relationships, for the most part unsuccessful events. Baxter and Bone, ignorant and innocent of women, spend their time imagining the Ideal Woman. Orchestrating this furore is Curtains, who has her own version of the story of Man and Woman. In The Mai, the title character commits suicide after her husband leaves her. The protagonist of Portia Coughlan kills herself, in fulfillment of a suicide pact with her twin brother Gabriel. In By the bog of Cats, Hester Swayne commits suicide, but first murders her daughter Josie, arguably Carr's most brutal play, portrays a family suffering from horrendous abuse by their father, and includes a shocking scene of incestuous rape. Finally, in Ariel, a midlands politician kills his daughter for political advancement before himself being killed by his wife. Therefore, I assert that Carr's plays resonate in particular with gender issues concerning motherhood and familial relationships. She highlights unfair treatment of women through engagement with more personal dimensions of human experience but attempts to disrupt inequalities in Ireland's traditional patriarchal society .
Abstract
n Irish drama since the early 1990s, there has been a tension between the imaginative spaces generated in theatres, and the most intimate physical space of all – the human body. I want in this paper to examine and explore how the tension present the gender problem within Marina Carr's plays. We see an increase in the number of Irish plays that reproduce the apparently old-fashioned gendered tropes, whereby masculinity and eloquence, and feminity and embodiment, are strongly associated with each other. Marina Carr's play takes those presentations of women, and works them through to nation as woman – but turns that representation against itself. Low in the Dark explores the myths and misconceptions between the sexes. In Bender and Binder's world, men are a necessary irritant. Their time is spent reliving their relationships, for the most part unsuccessful events. Baxter and Bone, ignorant and innocent of women, spend their time imagining the Ideal Woman. Orchestrating this furore is Curtains, who has her own version of the story of Man and Woman. In The Mai, the title character commits suicide after her husband leaves her. The protagonist of Portia Coughlan kills herself, in fulfillment of a suicide pact with her twin brother Gabriel. In By the bog of Cats, Hester Swayne commits suicide, but first murders her daughter Josie, arguably Carr's most brutal play, portrays a family suffering from horrendous abuse by their father, and includes a shocking scene of incestuous rape. Finally, in Ariel, a midlands politician kills his daughter for political advancement before himself being killed by his wife. Therefore, I assert that Carr's plays resonate in particular with gender issues concerning motherhood and familial relationships. She highlights unfair treatment of women through engagement with more personal dimensions of human experience but attempts to disrupt inequalities in Ireland's traditional patriarchal society .
참고문헌 (20)
- 문혜원, "아일랜드아일랜드―아일랜드로 가는 연극 여행", pp.406~429 (2008), 이화여자대학교 출판부
- 정문영, "마리나 카의『고양이 늪』─헤스터의 유령-되기", 영어영문학, 58(1), pp.69~91 (2012), 한국영어영문학회[DOI]
- 정문영, "Portia Coughlan의 탈식민성: 마리나 카의 잃어버린 타자를 찾아서", 현대영미드라마, 23(1), pp.153~180 (2010), 한국현대영미드라마학회
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- Carr, Marina, "Plays 1" (1999), Faber
- Carr, Marina, "Plays 2" (1999), Faber
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- Lonergan, Patrick, "Theatre and Globalization: irish drama in the celtic tiger era", pp.165~187 (2010), Palgrave
- Macintosh, Fiona, "Dying Acts: Death in Ancient Greek and Modern Iris Drama" (1994), Cork UP
- McGuinness, Frank, "The Theatre of Marina Carr: “before rules was made”", pp.87~88 (2003), Crysfort
- Merriman, Victor, "Decolonisation Postponed - The Theatre of Tiger Trash", Irish University Review, 29(2), pp.305~317 (1999)
- Murphy, Paula, "Staging Histories in Marina Carr' Midlands Plays", Irish University Review, 36(2), pp.389~402 (2006)
- Roche, Anthony, "Ireland on Stage: Beckett and After", pp.5~28 (2007), Carysfort
- Sihra, Melissa, "Women in Irish Drama: A Century of Authorship and Representation", pp.201~218 (2007), Palgrave
- Print. Taylor, Lib, "Indeterminate Bodies", pp.164~191 (2003), Palgrave
- Wallace, Clare, "The Theatre of Marina Carr: “before rules was made”", pp.43~64 (2003), Crysfort