MARINA CARR’IN KEDİLER BATAKLIĞI’NDA… VE KANLI DÜĞÜN ADLI OYUNLARINDA KÜYERELLEŞME VE UYARLAMA

Embarking on her career by imitating the Beckettian style at end of 1980s, Marina Carr (1964- ), a contemporary Irish female playwright, later moves to phase in which she rewrites ancient myths, Greek tragedies and some other classical works, including those William Shakespeare, Leo Tolstoy Virginia Woolf. While brings voice agency into sharper focus adaptations, revisions integrate global myth or story with local elements. What emerges here is that puts conversation considering source text stands for universal, elaboration culture troubles resonates particular. It noted that, following Celtic Tiger period Ireland, time initiates dramatic career, drama has undergone radical change globalisation. However, it particular argument this paper Carr’s way rewriting corresponds glocalisation, term suggests incorporation global. From early stage writing recent use glocalisation adaptations can be pinpointed. This article explores elements adaptation Euripides’s Medea By Bog Cats… (1998) Federico García Lorca’s Blood Wedding (2019) as examples from two different periods oeuvre. Hence, considers playwright’s method terms glocalisation.