Marina Carr’s Hecuba: agency,anger and correcting Euripides

ABSTRACT

This paper focuses on Marina Carr’s 2015 adaptation of Hecuba for the Royal Shakespeare Company. Hecuba sees Carr return to a fascination with Greek tragedy, difficult female characters and reimagining foundational myths. Of all Euripides’ plays Hecuba has rarely been popular, yet the themes Carr prises open – of violence, desire, gendered experience and the politics of perspective – are acutely topical. Indeed, Hecuba seemed to anticipate the frustrations that erupted on 28 October 2015 in response to the Abbey Theatre’s “Waking the Nation” programme. Drawing on twentieth and twenty-first century debates around the politics of tragic form, Roland Barthes theorising of myth, and the tradition of Greek adaptation in modern Irish drama, this paper examines how Hecuba reorients its sources. It goes on to assess the outcomes of these reorientations in order to problematise the critical predisposition to find an inevitably progressive poetics/politics in her engagement with tragic myths.     

CULTURAL AND SOCIAL DISCONNECTION IN THE CONTEXT OF A CHANGED PHYSICAL ENVIRONMENT

The context of the study was provided by the enforced relocation of an old coal mining community in the UK and describes the changes that were experienced by relocatees. The study is longitudinal in design over a six year period and this article is based on the qualitative part of the study. The old village had consisted of five straight rows of terraced houses whereas the new village was built in a curvilinear design with additional housing, occupying a much larger space. Reduced visual access to others not only diminished a sense of connectedness but also restricted an information flow which had been part of the functioning of the previous community, leaving indigenous participants with a sense of isolation. This unwanted isolation diluted the previous collective identity and weakened social support. In addition, an abrupt change in the community's socio‐cultural patterns occurred and previously learned privacy mechanisms were found to be inappropriate in the new setting. New values, priorities, lifestyles and overt materialism were evident and the data suggest that the earlier mostly collective functioning of the community had been replaced by individual functioning. It is proposed that spatial aspects provide constraints and opportunities for different behaviour patterns, highlighting the crucial importance of the physical environment and illustrating the essentially dynamic relationship between person, group and place.     

The future of the enthnographic museum (Respond to this article at http://www.therai.org.uk/at/debate)

This essay discusses the recent past of ethnographic museums and raises questions about their future. In the last thirty years or so, ethnographic museums have faced many challenges arising both from within and beyond anthropology to the extent that in the post‐colonial and post‐modern era they could be said to have suffered an identity crisis. Many have been renamed, remodelled or rehoused in spectacular new premises (such as the Musée du Quai Branly in Paris). Only a few have remained largely unaltered, as at the Pitt Rivers Museum in Oxford where the authors of this essay are employed. Drawing on the theoretical literature in museum anthropology and material culture, many years of ‘hands on’ curatorial experience and the insights gained from a five year collaborative research project involving ten major ethnographic museums in Europe, the authors investigate how ethnographic museums might engage with new audiences and new intellectual regimes in the future.