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Dissertations / Theses on the topic 'Feminism and theater – Queensland'

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Published: 4 June 2021
Last updated: 15 February 2022

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1

Currie, Susan. "Writing women into the law in Queensland." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16395/.

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Writing Women into the Law in Queensland consists, as well as an exegesis, of profiles of seven significant women in the law in Queensland which have been published in A Woman's Place: 100 years of women lawyers edited by Susan Purdon and Aladin Rahemtula and published by the Supreme Court of Queensland Library in November 2005. Those women are Leneen Forde, Chancellor of Griffith University and former Governor of Queensland; Kate Holmes, Justice of the Supreme Court and now of the Court of Appeal; Leanne Clare, the first female Director of Public Prosecutions; Barbara Newton, the first female Public Defender; Carmel MacDonald, President of the Aboriginal Land Tribunals and the first female law lecturer in Queensland; Fleur Kingham, formerly Deputy President of the land and Resources Tribunal and now Judge of the District Court and Catherine Pirie, the first Magistrate of Torres Strait descent. The accompanying exegesis investigates the development of the creative work out of the tensions between the aims of the work, its political context, the multiple positions of the biographer, and the collaborative and collective nature of the enterprise.
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2

Leith, Hope Mary. "Moral and social constraints on femininity in the comedie larmoyante." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28102.

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This study has attempted to show that the plays of La Chaussée, which were popular in France in the middle to lat eighteenth century, were popular because they appealed to social values of the period, and particularly because they expressed a conservative view of society and of the role of women in that society. The introduction sets forth the historical and biographical background of La Chaussée, the extent of the success achieved by his "comédies larmoyantes" in performance and in publication during the eighteenth century, and the reasons for selecting the five plays on which this study concentrates. The focus on, female characters is explained by the number of plays "about" women: Mélanide, La Gouvernante, L'Ecole des méres and by the tendency in literary criticism to consider eighteenth-century French tastes in theatre dictated by women. Chapter I presents a content analysis of the five plays. This technique, taken from Goodlad, A Sociology of Popular Drama, provides plot summaries of these now unfamiliar plays which are used as a basis for chapter II. Furthermore it permits determination and comparison of these themes, settings, areas of conflict explored and types of resolution offered in the plays under examination. La Chaussée most frequently presents the problems of marital and familial love, and resolves conflicts with reconciliation, marriage, or another form of social integration. Goodlad brings out the relationship between popular success and a play's at least implicit didacticism and its conservatism in form and content. Chapter II uses narratological analysis techniques from Bremond, Logique du récit. The plays are considered as texts. The purpose here is to bring to light the structure of plot: how resolution in delayed or achieved, what roles -- victim, beneficiary, assistant, frustrator -- female character play in that structure. Heroines are found to be passive victims, beneficiaries, or even frustrators. Secondary female characters play minor assistant roles, or act as frustrators for the heroines. Resolution is achieved by male characters. Chapter III turns to discourse, how much and what is said about the female sex and/or by female characters. It examines the quantity, content and situation of female discourse in these plays, and particularly the social and situational restraints on discourse. A female character usually only has one scene with male characters in which she speaks half or more of the total lines, unless she is alone with someone over whom she has affective influence, and not her husband. Maids are used to express generalizations about the situation of women in society, and sympathy for the heroine. The discourse of heroines centres on the standards of virtue to which society holds them: patience, endurance, chastity, obedience. In the conclusion, critical judgments on La Chaussée from the eighteenth century to the present are reviewed and examined. Doubt is cast on the extent to which La Chaussée should be seen as promoting theatrical or social reform, and increased emphasis in placed on the nature of his didacticism, and the pervasiveness of his conservatism.
Arts, Faculty of
French, Hispanic, and Italian Studies, Department of
Graduate
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3

Whittington, Amanda. "Bad girls and blonde bombshells : lived feminism in popular theatre." Thesis, University of Huddersfield, 2016. http://eprints.hud.ac.uk/id/eprint/34413/.

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This project examines texts from a body of work which numbers fifteen performed across the country. The accompanying commentary identifies the ways in which 'Be My Baby' and 'The Thrill of Love' tell female-centred stories in a popular dramatic voice which explore aspects of women's lived experience. It engages with feminist theory and practice to identify the diffuse and sometimes contradictory feminisms within the plays. Dramatic structure is considered with close reference to realist and expressionist forms. The exegesis investigates their engagement with popular culture, the importance of music in the narratives and the methods by which they seek to reclaim women's history. The commentary brings together academic mainstream sources to contextualize the study. Playtexts are examined with reference to a broad range of theorists, practitioners and cultural commentators including Eileen Aston and Geraldine Harris, Erin Hurley, Angela McRobbie, Graham Saunders, Lucy O'Brien, Carol Ann Lee and Lyn Gardner. The distinctive aspects of affective solidarity and feeling are identified as unifying elements of the play's personal and political concerns.
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4

King, Portia Jane. "Shake it hard feminist identity and the burly-Q /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2008. http://hdl.handle.net/10355/5798.

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Thesis (M.A.)--University of Missouri-Columbia, 2008.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on August 12, 2009) Includes bibliographical references.
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5

Gilmore, Jennifer. "(Re)emerging subjectivities : a postmodern feminist perspective on subjectivity, agency and change /." [St. Lucia, Qld.], 2003. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe17770.pdf.

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6

Teoh, Remedios A., and remedios teoh@deakin edu au. "Gender and national identity: The people's theatre in the Philippines (1967-2000)." Deakin University. School of Social and International Studies, 2004. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20061207.150434.

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The Philippine Education Theater Association (PETA), the People’s Theatre in the Philippines was founded within the bounds of the nationalist leftist tradition. Its origin therefore determines to a great extent the contours of the discourse on the feminist movement in the Philippines, its participation within the cultural movement and the founding years of the pioneering People’s Theatre in the country. As a grass roots theatre from a Third World nation, the PETA theatre model responded to the needs in raising socio-political and economic consciousness and can therefore serve as an alternative tool to formal education for other Third World countries. This thesis argues, the People’s Theatre development is determined within the matrix of gender, class, politics and the nationalist movement to which it is intertwined or inextricably linked. The feminist, nationalist and radical movements have become superimposed upon the history of the People’s Theatre and have nurtured its development as a consciousness raising educational tool.
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7

Easton, Kirsten Elana. "WHAT’S IN A NAME? THAT WHICH WE CALL A WHORE, BY ANY OTHER NAME, IS SOCIALLY ACCEPTABLE: THE ORIGIN, DEVELOPMENT, AND PRODUCTION OF WIFE/WORKER/WHORE." OpenSIUC, 2016. https://opensiuc.lib.siu.edu/theses/1921.

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This thesis details the development of my full-length play Wife/Worker/Whore from outlining and pre-writing to full production at Southern Illinois University over the course of the 2015/2016 school year. In writing Wife/Worker/Whore, I was inspired by Norma Jean Almodovar’s From Cop to Call Girl, in which she details her life as a housewife, police officer and eventually high-class call girl in 1970s Los Angeles. Almodovar’s life story served as the impetus for this script, as I sought to complicate the discourses surrounding prostitution in its various forms. This play, therefore, examines the covert ways in which women are forced to prostitute themselves, even when they don’t call themselves a “whore” by profession. Chapter One includes a statement of the project, the origin, and development of the script, initial structure and plot considerations for the script, research that impacted the creation of the script, character development, and tools for self-evaluation. Chapter Two covers the pre-writing process, feedback from my peers from two in-class readings, notes from my advisor, Jacob Juntunen, and the director, Segun Ojewuyi, about the script’s development and an overall description of the play’s progression through drafts one to eight. Chapter Three describes the design meetings held in preparation for the production of Wife/Worker/Whore. Chapter Four details the audition process as well as rehearsals for the piece. Chapter Five evaluates Wife/Worker/Whore’s production, describes ideas for future productions of the piece as well as possible revisions. Chapter Six concludes the thesis by tracking my progression in the playwriting program over the past three years. It includes my writing growth in terms of structure and developing my artistic voice. It also discusses my professional development over the time in the program, as well as the evolution of my teaching practice. I have also included in the thesis the production script of Wife/Worker/Whore, excerpts from previous drafts of the script, and publicity materials.
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8

Fargo, Emily Layne. ""The fantasy of real women" new burlesque and the female spectator /." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1211331939.

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9

Xing, Jia. "Ting Ling." Miami University / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=miami1084912718.

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10

Collins, Rachel. "HAPPY DAYS: A MODERN WOMAN’S APPROACH TO ABSURDISM THROUGH FEMINIST THEATER THEORY." Ohio University Honors Tutorial College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1338311141.

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11

Curtin, Thomas. "Ideal womanhood : an exploration of the intersection of Indian nationalist discourses and gendered identities /." [St. Lucia, Qld.], 2006. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19793.pdf.

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12

Dailey, Zachary Elijah. "Finding the Rhythms and the Accidental Poetry: Annie Baker and the Condition of a Contemporary Female Playwright." Miami University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=miami1439378464.

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13

Murrie, Linzi. "Feminism as 'Men's Business' : the possibilities and limitations of the profeminist politics in Men Against Sexual Assault /." [St. Lucia, Qld.], 2002. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe17112.pdf.

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14

Madden, Jennifer. "Divine comedy : sacred play and subversion in contemporary neo-Pagan festival." View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3319108.

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15

Kinser, Amber E. "Gendered and Feminist Performances in the Social ‘Theater of Food’." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/1253.

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16

Snook, Lorrie Jean. "The performance of sexual and economic politics in the plays of Aphra Behn." Diss., The University of Arizona, 1992. http://hdl.handle.net/10150/185960.

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Since her work as a professional playwright in the 1670s and 1680s, critics have sought to equate Aphra Behn and her plays, to fix and stabilize the body of the writer and of her work. She has been marked as a prostitute, a feminist, and a masculinist hack, in each case her gender determining the value of and audience for her writing. This dissertation argues that Behn's plays--and Behn--should be read in terms of her controlling tropes and forms of performance and intrigue. Her plays and her presence use these tropes and forms to decenter the idea of identity and manipulate conventions of gender roles in the patriarchal Restoration theater. In doing so, she recasts and reconstitutes the structure of the patriarchal theater and economy. Chapter 1 introduces my argument and presents an overview of critical and feminist responses to Behn. I use this overview to present my own view of identity as performance, opposing such essentialist theorists as Helene Cixous. Chapter 2 develops the historical and metaphorical associations of intrigue and performance, beginning with her Preface to The Dutch Lover; in reading two of her lesser-known intrigue-comedies, The Dutch Lover and The Feign'd Curtezans, or a Night's Intrigue, I then argue that performance and intrigue challenge the conventional engendering of roles such as the rake and the courtesan. Chapter 3 expands these associations and reads her economic metaphors, as I look at Behn's most famous intrigue-comedy, The Rover, and its sequel; as well as challenging conventional roles and economic valuations, however, The Rover, Part II emphasizes the ultimate inescapability of these roles and valuations in the patriarchal theater. Chapter 4 moves to her town-comedies; I argue that Behn adapts the intrigue-form to her comedies of manners, working out the characters' struggle between convention and nature to define public and private selves. Sir Patient Fancy sets up the power that the manipulation of convention offers; The City Heiress emphasizes the limits of such manipulation; The Lucky Chance offers magic and ambiguity as new theatrical possibility to subvert convention and recast role.
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17

Dunn, Ashley S. "Beadabees: Performing Black Hair Politics in the 21st Century." Miami University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=miami1437487935.

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18

Rapoo, Connie. "Figures of sacrifice Africa in the transnational imaginary /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1610482411&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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19

Bode, Katherine. "In/visibility : women looking at men's bodies in and through contemporary Australian women's fiction /." [St. Lucia, Qld.], 2005. http://adt.library.uq.edu.au/public/adt-QU20060120.161127/index.html.

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20

Western, Melissa. "Reconciliation on stage : the politics of indigenous representation in Brisbane theatre's 1999 'reconciliation plays' /." [St. Lucia, Qld.], 2006. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19809.pdf.

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21

Hill, Caroline. "Art versus Propaganda?: Georgia Douglas Johnson and Eulalie Spence as Figures who Fostered Community in the Midst of Debate." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555276218786986.

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22

Rups-Eyland, Annette Maie. "Centre of the storm : in search of an Australian feminist spirituality through performance-ritual /." View thesis View thesis, 2002. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20031222.160235/index.html.

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Thesis (Ph.D.) -- University of Western Sydney, 2002.
A thesis submitted in full requirements for the degree of Doctor of Philosophy, School of Social Ecology and Lifelong Learning, University of Western Sydney, May 2002. Bibliography : p. [369]- 395.
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23

Ruane, Richard T. "Performing "Camp, Vamp & Femme Fatale": Revisiting, Reinventing & Retelling the Lives of Post-Death, Retro-Gothic Women." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2239/.

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This thesis examines the production process for "Camp, Vamp and Femme Fatale," performed at the University of North Texas in April of 1997. The first chapter applies Henry Jenkins's theory of textual poaching to the authors' and cast's reappropriation of cultural narratives about female vampires. The chapter goes on to survey the narrative, cinematic and critical work on women as vampires. As many of the texts were developed as part of the fantasy role-playing game Vampire: The Masquerade, this chapter also surveys how fantasy role-playing develops unpublished texts that can make fruitful ground for performance studies. The second chapter examines the rehearsal and production process in comparison to the work of Glenda Dickerson and other feminist directors.
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24

Feiler, Yael. "Nationen och hans hustru : Feminism och nationalism i Israel med fokus på Miriam Kainys dramatik." Doctoral thesis, Stockholm University, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-94.

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The aim of this thesis is to elucidate the tension between feminism and nationalism in Israel and to investigate the ways by which such discursive currents mark the identities of Israeli women. The specific field of investigation is Israeli theatre, and the identities examined are dramatic characters created by the Israeli playwright Miriam Kainy. Also examined is the character of the playwright herself. Theatre is being observed as a specific field of society in which the position of women can be clarified. What kind of women characters the Israeli theatre produces is therefore a leading question for this study.

Feminist theories, focusing on gender aspects of power relations, together with the postcolonial perspective, which considers power relations by focusing on ethnicity and geopolitical aspects, provide the theoretical tools. The social constructionist viewpoint is used since it provides an appropriate understanding of important notions for the thesis, such as nation and identity, considering them as constructions created by discourse. The discourses focused upon are the national v. the feminist discourse and theatre is viewed as a discourse mediator, which is why the dramatic text is the object of the analysis. The specific method of analysis is inspired by Norman Fairclough’s critical discourse analysis.

The main part of the thesis consists of a discursive analysis of five women characters, constructed within a period of about five decades, namely between the 1950s and 1990s. Each one of these characters consists of an articulation which is considered representative of a specific time-relevant discursive struggle between the two discourses in question. One of the central assumptions of the thesis is that the Israeli national identity is thoroughly masculine. The identity problems it has been causing Israeli women since the time of the pioneers until today are clearly illuminated throughout the analysis. The conclusion emphasises that the subjectpositions being introduced by Israeli national discourse, namely the ways of being a New Jew, an Israeli, collide with those introduced by feminist discourse, i.e. ways of being an independent woman subject. Nevertheless, each and every character demonstrates creative ways of transforming the discourses by aiming at a hybrid formation.

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25

Huston-Findley, Shirley A. "Subverting the dramatic text : folklore, feminism, and the images of women in three canonical American plays /." free to MU campus, to others for purchase, 1998. http://wwwlib.umi.com/cr/mo/fullcit?p9901243.

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26

Bledsoe, Stormi Danielle. "Liberte Egalite Sororite: Feminist Directing Strategies Applied to The Revolutionists at Miami University." Miami University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=miami1564606867621745.

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27

Burnett, Linda Avril. "The argument against tragedy in feminist dramatic re-vision of the plays of Euripides and Shakespeare /." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35857.

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This dissertation examines the arguments against tragedy offered by feminist playwrights in their "re-visions" of the plays of Euripides and Shakespeare.
In the first part, I maintain that feminist dramatic re-vision is one manifestation of an unrecognized tradition of women's writing in which criticism is expressed through fiction. I also argue that the project of feminist dramatic re-vision embodies a feminist "new poetics."
In the second part, I examine the aesthetics and politics of tragedy from a feminist perspective. Feminist arguments against tragedy are, in effect arguments against patriarchy. But it is the theorists and critics of tragedy---not the playwrights---who are unequivocally aligned with patriarchy. Playwrights like Euripides and Shakespeare can be seen to destabilize tragedy in their plays.
In the third part, I show how recent feminist playwrights (Jackie Crossland, Dario Fo and Franca Rame, Deborah Porter, Caryl Churchill and David Lan, Maureen Duffy, Alison Lyssa, The Women's Theatre Group and Elaine Feinstein, Joan Ure, Margaret Clarke, and Ann-Marie MacDonald) counter tragedy by extrapolating from the arguments presented by Euripides and Shakespeare in The Medea, The Bacchae, King Lear, Hamlet, Romeo and Juliet and Othello , and by allocating voice and agency to their female protagonists.
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岑金倩 and Kam-sin Shum. "A study of female characters in modern Chinese historicaldrama (1911-1949)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31214605.

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29

Frazier, John Nyrere. "FOR COLORED GIRLS WHO HAVE CONSIDERED SUICIDE WHEN THE RAINBOW IS ENUF: LIVING IN THE WORDAN EXAMINATION OF THE TEXT AND TRADITIONAL PERFORMANCES OF FOR COLORED GIRLS… AS A STUDY FOR A MULTICULTURAL PRODUCTION." Miami University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=miami1410542294.

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30

Cox, Emma. "Shakespeare and indigeneity : performative encounters in Australia and Aotearoa-New Zealand /." [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe18639.pdf.

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31

Brown, Terri L. "Me and my shadow an exploration of doppelgänger as found in the music and text of Susan Glaspell's The verge /." Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1208826442.

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32

Wilder, Nicole Marie. "“Set Me Free At Once”: Exploring Feminism and Freedom in the Text, Performance, and Production of Lanie Robertson’s The Insanity of Mary Girard." Miami University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=miami1217004796.

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Fraser, Meredith. "Presumptuous and impious : a feminist analysis of the narratives and discourses of divorced and single white women holiness preachers at the turn of the 20th century /." [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19291.pdf.

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Solga, Kimberly A. "Playing the woman, gender performance on the contemporary stage." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq24922.pdf.

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Bonshek, Corrina. "Australian deterritorialised music theatre a theoretical and creative exploration /." View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/19308.

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Thesis (Ph.D.) -- University of Western Sydney, 2007.
A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the University of Western Sydney, College of Arts, School of Communication Arts. Includes bibliography.
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Lee, Melissa. "Staging the Actress: Dramatic Character and the Performance of Female Identity." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1397823196.

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Brandenburg, Rachel Lynn. "Ceremonials: A Reclamation of the Witch Through Devised Ritual Theatre." Miami University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=miami1556854180665756.

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Martin, Lene Karine. "Lost in the Woods: A Theatrical Journey Through Gender and Media Analysis." Oxford, Ohio : Miami University, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1133997072.

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Roberts, David. "The ladies : female patronage of Restoration drama 1660-1700." Thesis, University of Oxford, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670377.

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Austin, Marne Leigh. "Nomadic Subjectivity and Muslim Women: A Critical Ethnography of Identities, Cultures, and Discourses." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1371657565.

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Pittenger, Peach. "Women in American popular entertainment creating a niche in the vaudevillian era, 1890s to 1930s /." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1121778515.

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Thesis (Ph. D.)--Ohio State University, 2005.
Title from first page of PDF file. Document formatted into pages; contains x, 223 p.; also includes graphics. Includes bibliographical references (p. 207-223). Available online via OhioLINK's ETD Center
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Solomon, Zanne. "The dionysian in performance reclaiming the female transgressive performing body." Thesis, Rhodes University, 2012. http://hdl.handle.net/10962/d1002380.

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In this thesis I investigate the theoretical or philosophical notion/archetype of the Dionysian in relation to the transgressive female body in performance. I do so through 1) an investigation into the theories behind the Dionysian and the transgressive; 2) an examination of the performative practice of the transgressive female body; and 3) a personal exploration of the theatrical practice. 1) In the first chapter I introduce and thoroughly explore the archetypal concept of the Dionysian, and identify its significance because of its intrinsic association with the transgressive. I associate it with its oppositional force, the Apollonian, which is similarly significant because it is through the Dionysian disruption of the Apollonian from which the very notion of the transgressive springs. Through a review of Camille Paglia's seminal text on the subject of the Dionysian¹, this chapter provides a historical, mythological and theoretical context for the schism between the two archetypal aesthetics, starting from the description of the mythology of the ancient Greek gods, Dionysus and Apollo, and unpacks the transgressive nature of the Dionysian. Drawing on concurring theories of Friedrich Nietzsche and Julia Kristeva, as well as Hans Thies-Lehmann's writings on post-dramatic theatre², Chapter One attempts to firmly establish the inherent link between the Dionysian and theatre and performance, as well as the Dionysian and the transgressive, and provide a thorough theoretical framework for the rest of the thesis. 2) The second chapter investigates the work of two female performance artists³ who (re)present⁴ their bodies as transgressive in performance, namely Marina Abramovic and Karen Finley. It critically examines specific performance works of theirs, and through this examination it explores how they (re)present their bodies as transgressive in performance, and why they do so. This chapter furthermore establishes the connection between the transgressive female performing body, as (re)presented by Abramovic and Finley, and the Dionysian. In so doing it explores how they negotiate this ancient aesthetic or practice in a contemporary performance context. I believe that these performance artists are in fact striving to celebrate and reclaim the Dionysian within their work, and I attempt to establish this within this chapter. 3) The third chapter of this thesis analyses my own practical exploration of the transgressive female body in performance in a piece entitled Bleeding Mermaid (2008). It examines this exploration in the context of the theory of the Dionysian, as well as investigating how and why I (re)presented my body as transgressive in the performance. The analysis furthermore questions how I understand my work on the (re)presentation of the transgressive female body in relation to, and within the context of, Finley and Abramovic's work on the same subject. Through this investigation, I aim to establish a link between the Dionysian and the transgressive female performing body; and investigate the motivation(s) behind the (re)presentation of the transgressive female body in performance. I hope to open up a pathway to the reclamation of the Dionysian, both in performance practice and research. ¹Paglia, Camille. Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson. England: Penguin Books, 1990. ²Lehmann, Hans-Thies. Postdramatic Theatre. Trans. and Intro. Karen Jürs-Munby. London and New York: Routledge, 2006. ³Performance Art began around the 1960s in Europe and America. It is performance with a sense of immediacy – in that it is hard to replicate as it interacts with each unique audience – it is thus effectively a fresh/new experience each time. It breaks the boundaries of traditional theatre (form, structure, venue, time etc) and is often shocking or provocative in nature. It mixed the aesthetics of theatre and art, often taking place in installation settings. Performance Art has developed and morphed throughout the years, and is also referred to as Live Art in Britain. A performance artist is someone who produces performance art. It is possible that Performance Art no longer exists/is possible because it no longer shocks or affects the audience. ⁴My use of the brackets in (re)presented/(re)present throughout this thesis is because I would like to make simultaneous reference to the words/connotations of "presentation" and "representation", without being bound to the connotations of illusion/falseness/non-reality as is associated with the word "representation" (in opposition to the concept of the "real"), and thus be left only with the one-dimensional approach/meaning of "presentation".
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Tadeyeske, Chelsea Raina. "Imagine If This Were In Comic Sans." Miami University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=miami1461847296.

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Scangas, Alexis. "Forget the Familiar: The Feminist Voice in Contemporary Dramatic Song." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1522672693855537.

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Bruton, Rita Tovar. "A Feminist Rereading of Selected Works by Carlos Morton." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984223/.

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Carlos Morton is a prominent Chicano playwright that has contributed greatly to Chicano theatre, creatively and academically, since in 1970s. This thesis offers a feminist analysis of the gender representation in three of his works: Lilith (1977), La Malinche (1984), and Dreaming on a Sunday in the Alameda (1992). The female characters in these three plays possess a unique agency that allows them to challenge oppressive patriarchal standards imposed on their gender identity. The second chapter explores Morton's Lilith, a play based on a Jewish creation myth. In the play, Lilith possesses agency of her gender identity and forms a bond with Eve to fight the patriarchal gender norms used to restrict women in Chicano culture. La Malinche is an adaptation of Eurpides's Medea set in post-Conquest New Spain. Chapter three focuses on the agency displayed by La Malinche through her indigenous roots to fight for her own form of motherhood and freedom from patriarchy. The final play analyzed in this thesis is Dreaming on a Sunday in the Alameda, a dream-like play that is based on Diego Rivera's mural by the same name. Several female characters in the play demonstrate agency through their androgynous sexual identities as they unite to resist male character's sexualized perceptions and expectations of females within Mexican and Chicano culture.
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Thomas, Quincy D. "Lycra, Legs, and Legitimacy: Performances of Feminine Power in Twentieth Century American Popular Culture." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1521852471021414.

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Hammonds, Rebecca K. "Bookish Women: Examining the Textual and Embodied Construction of Scholarly and Literary Women in American Musicals." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1561199459898891.

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Howard, Rebecca. "A pedagogy of one's own bricolage, differential consciousness, and identity in the translexic space of women's studies, theatre, and early childhood education /." Oxford, Ohio : Miami University, 2010. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1272174018.

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Gontovnik, Monica. "Another Way of Being: The Performative Practices of Contemporary Female ColombianArtists." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1420473106.

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Gibson, Alanna Marie. "Salome: Reviving the Dark Lady." University of Dayton / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1398693802.

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