"Do not destroy me before my time": Iphigenia's versions and appropriations in contemporary Irish theatre
Iphigenia in Aulis has been adapted by Irish contemporary playwrights such as Marina Carr, Edna O’Brien or Andy Hinds. Th is article off ers an introductory analysis of the reasons behind the Irish interest towards the Greek tragedy, followed by a comparative study of the three versions mentioned. T...
| Autor: | |
|---|---|
| Tipo de recurso: | artículo |
| Fecha de publicación: | 2023 |
| País: | España |
| Institución: | Universidad de Oviedo (UNIOVI) |
| Repositorio: | RUO. Repositorio Institucional de la Universidad de Oviedo |
| Idioma: | inglés |
| OAI Identifier: | oai:digibuo.uniovi.es:10651/72381 |
| Acceso en línea: | https://hdl.handle.net/10651/72381 https://dx.doi.org/10.36253/SIJIS-2239-3978-14617 |
| Access Level: | acceso abierto |
| Palabra clave: | Andy Hinds, Edna O’Brien, Irish Sacrificial Women, Iphigenia, Marina Carr |
| Sumario: | Iphigenia in Aulis has been adapted by Irish contemporary playwrights such as Marina Carr, Edna O’Brien or Andy Hinds. Th is article off ers an introductory analysis of the reasons behind the Irish interest towards the Greek tragedy, followed by a comparative study of the three versions mentioned. Th e identifi cation of the overarching themes will unveil the spaces for transformation: while Carr focuses on the depiction of a modern and corrupt Agamemnon and the rewriting of strong women, O’Brien adds extra plots and characters to highlight feminist voices, and Hinds eliminates, adds and relocates lines from the original play, to write a more performable version. Conclusions reveal the rewriting of the concept of sacrifi cial women, and present the three plays as relevant contributions to the reception of Euripides in Ireland. |
|---|