Ireland’s ‘exiled’ women playwrights: Teresa Deevy and Marina Carr

Leeney, Cathy

doi:10.1017/ccol0521804000.011

Cited by 5 publications

(1 citation statement)

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“…The desire for self-representation is highlighted by the central motif of women's exile, noted by Cathy Leeney as 'exile from self-expression, from self-determination'. 6 Anna McMullan defines this experience of dislocation as the unhomely, which she maps onto Luce Irigaray's term déréliction to mark woman's displacement outside culture and the symbolic. McMullan highlights how the struggle towards self-expression and cultural representation questions homely gender and national identities with reference to women playwrights including Carr, Máiréad Ní Ghráda and Edna O'Brien.…”

Section: Self-representation and The Unhomely Experiencementioning

confidence: 99%

The Crossing of Boundaries: Transgression Enacted

Hill¹

2011

Theatre Research International

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Feminist discourse has proven to be a vital component in the expanding field of Irish theatre studies owing to its exposure of elided work and the articulation of unrepresented voices. Irish women's participation in the public sphere and cultural fabric of society has been hindered in the course of the twentieth century and this is reflected in limiting representations of femininity as perpetuated by discourses of nationalism and Catholicism: the dominant imagery of the idealized mother which merges the feminized nation – Mother Ireland – and the Virgin Mary. In Hegemony and Fantasy in Irish Drama, 1899–1949, Paul Murphy highlights the ‘contradiction between the symbolic centrality of Woman as fantasy object and the social subordination of women as social subjects’. The incongruity between the shifting realities of Irish women's lives and the inflexible institutions that shape cultural representations is the focus of much feminist theatre research in Ireland. This research examines work which articulates the experience of estrangement from the dominant cultural imaginary and attends to the possibilities of staging more accommodating models through three interlinked strands: self-representation and the unhomely experience; constraint and freedom as explored through space and form; and a shift in focus to performance and the body.

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Section: Self-representation and The Unhomely Experiencementioning

confidence: 99%