Women and Scarecrows: Marina Carr’s Stage Bodies

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Abstract

This chapter considers the theatre of Marina Carr in the light of the feminist thought of French writers Hélène Cixous and Luce Irigaray, in particular their work on the cultural representations of the feminine-maternal body. Taking the play Woman and Scarecrow as a case-study, the chapter examines Carr’s undermining of the visualist bias of conventional theatre, and demonstrates the extent to which she privileges the auditory in an attempt to confer on the stage a female voice and body.

Keywords

Marina carr Woman and scarecrow Feminist approach Female voice Maternal body 
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Works Cited

  1. Artaud, Antonin. Le Théâtre et son double. Paris: Gallimard, 1964. Print.Google Scholar
  2. Carr, Marina. Introduction to Portia Coughlan. Oldcastle: Gallery Press, 1998. Print.Google Scholar
  3. ———. The Mai, Portia Coughlan, By The Bog of Cats. Plays One. London: Faber and Faber, 1999. Print.Google Scholar
  4. ———. On Raftery’s Hill and Woman and Scarecrow. Plays Two. London: Faber and Faber, 2009. Print.Google Scholar
  5. Cixous, Hélène, ‘Aller à la mer.’ Le Monde, 28 Apr. 1977: 19. Print.Google Scholar
  6. Irigaray, Luce. ‘The Bodily Encounter with the Mother.’ Tr. David Macey. Ed. Margaret Whitford. The Irigaray Reader, Blackwell: Oxford, 1991. Print.Google Scholar
  7. ———. Ce Sexe qui n’en est pas un. Paris: Editions de Minuit, 1977. Print.Google Scholar

Copyright information

© The Author(s) 2017

Authors and Affiliations

  1. 1.University College CorkCorkIreland

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