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

Kübra Vural Özbey

Makale detayları

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

Yazarlar:

Kübra Vural Özbey

Yayıncı:

Yusuf ÇETİN

Ana Başlıklar:

Edebi Çalışmalar | Sanat ve Edebiyat

Dergi:

Söylem Filoloji Dergisi Vol.8 Issue 2, pp.398-420

Belge Tipi:

Makale

Yayın Tarihi:

8/2023

Belge Dili:

İngilizce

Document ID (Org No.):

2001294266

pISSN:

2548-0502

Anahtar kelimeler:

Özet:

 Embarking on her career by imitating the Beckettian style at the end of the 1980s, Marina Carr 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 Carrs 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, Carrs use of glocalisation in her adaptations can be pinpointed. This article explores the elements of glocalisation in Carrs adaptation of Euripidess Medea in By the Bog of Cats 1998 and Federico García Lorcas Blood Wedding in Blood Wedding 2019 as examples from two different periods of her oeuvre. Hence, this paper considers the Irish playwrights method of adaptation in terms of glocalisation.

 Embarking on her career by imitating the Beckettian style at the end of the 1980s, Marina Carr 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 Carrs 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, Carrs use of glocalisation in her adaptations can be pinpointed. This article explores the elements of glocalisation in Carrs adaptation of Euripidess Medea in By the Bog of Cats 1998 and Federico García Lorcas Blood Wedding in Blood Wedding 2019 as examples from two different periods of her oeuvre. Hence, this paper considers the Irish playwrights method of adaptation in terms of glocalisation.

 Embarking on her career by imitating the Beckettian style at the end of the 1980s, Marina Carr 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 Carrs 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, Carrs use of glocalisation in her adaptations can be pinpointed. This article explores the elements of glocalisation in Carrs adaptation of Euripidess Medea in By the Bog of Cats 1998 and Federico García Lorcas Blood Wedding in Blood Wedding 2019 as examples from two different periods of her oeuvre. Hence, this paper considers the Irish playwrights method of adaptation in terms of glocalisation.

 1980lerin sonunda Beckettin stilini taklit ederek kariyerine başlayan günümüz İrlandalı kadın oyun yazarı Marina Carr 1964- , daha sonra kariyerinde eski mitleri, Yunan trajedilerini ve William Shakespeare, Leo Tolstoy ve Virginia Woolfunkileri de kapsayan başka klasik eserleri yeniden yazdığı bir döneme girmiştir. Carr uyarlamalarında kadının sesini ve eylem gücünü açıkça odağı haline getirirken, onun revizyonları evrensel mit ya da hikayeyi yerel İrlanda ögeleriyle birleştirir. Carrın kaynak metninin evrenseli temsil ettiği ve İrlanda kültürü ve sorunlarını işlemesinin özele hitap ettiği düşünüldüğünde, burada açığa çıkan şey Carrın evrenselle yereli bir diyaloga sokmasıdır. Carrın tiyatro kariyerine başladığı İrlandada Kelt Kaplanı dönemini takiben, İrlanda tiyatrosunun küreselleşmeyle ciddi bir değişikliğe uğradığı belirtilir. Ancak, bu çalışmaya özgü tartışma, Marina Carrın yeniden yazım yönteminin yerelin evrenselle bütünleşmesini gösteren bir terim olan küyerelleşmeyle uymasıdır. Yazımının erken döneminden son eserlerine kadar uyarlamalarında Carrın küyerelleşmeyi kullanımı saptanabilir. Bu çalışma, Carrın iki farklı zaman dilimindeki yapıt örneklerinden olan Euripidesin Medea uyarlaması olarak Kediler Bataklığında 1998 ve Federico García Lorcanın Kanlı Düğün uyarlaması olarak Kanlı Düğün 2009 adlı eserlerinde küyerelleşme ögelerini incelemektedir. Böylelikle bu çalışma, İrlandalı oyun yazarının uyarlama metodunu küyerelleşme bağlamında ele almaktadır.

Makale detayları

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

Yazarlar:

Kübra Vural Özbey

Yayıncı:

Yusuf ÇETİN

Ana Başlıklar:

Edebi Çalışmalar | Sanat ve Edebiyat

Dergi:

Söylem Filoloji Dergisi Vol.8 Issue 2, pp.398-420

Belge Tipi:

Makale

Yayın Tarihi:

8/2023

Belge Dili:

İngilizce

Document ID (Org No.):

2001294266

pISSN:

2548-0502

Marina Carr

By the Bog of Cats…

Blood Wedding

adaptation

glocalisationMarina Carr

Kediler Bataklığı’nda…

Kanlı Düğün

uyarlama

küyerelleşme

Sayı

Makale detayları

Yazarlar: Kübra Vural Özbey

Yayıncı: Yusuf ÇETİN

Ana Başlıklar: Edebi Çalışmalar | Sanat ve Edebiyat

Dergi: Söylem Filoloji Dergisi Vol.8 Issue 2, pp.398-420

Belge Tipi: Makale

Yayın Tarihi: 8/2023

Belge Dili: İngilizce

Document ID (Org No.): 2001294266

pISSN: 2548-0502

Sayı

Yazarlar:

Kübra Vural Özbey

Yayıncı:

Yusuf ÇETİN

Ana Başlıklar:

Edebi Çalışmalar | Sanat ve Edebiyat

Dergi:

Söylem Filoloji Dergisi Vol.8 Issue 2, pp.398-420

Belge Tipi:

Makale

Yayın Tarihi:

8/2023

Belge Dili:

İngilizce

Document ID (Org No.):

2001294266

pISSN:

2548-0502