Relevant bibliographies by topics / Gender identity in the theater Gender identity in art

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Gender identity in the theater Gender identity in art'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 February 2022

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Journal articles on the topic "Gender identity in the theater Gender identity in art"

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Melnikov, Georgy P. "The Plowman and the Music as gender personifications of the Czech identity in culture." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 59 (2021): 8–20. http://dx.doi.org/10.37816/2073-9567-2021-59-8-20.

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The culture of the Czech National Revival produced a symbolic autoidentification in figures of the Plowman and the Music. The drawings of J. Mánes and the sculptures of J. Myslbek perpetuated these figures as gender symbols of the Czech identity. The figures of the Plowman and the Music are presented in the Mánes’ drawing “Domov”. The semantics of the drawing is versatile, which provides an impulse for its culturological interpretation. A symbolic figure of the Plowman in historical and cultural consciousness of Czechs has been associated with Přemysl the Ploughman — the legendary founder of t
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Duncan, Dawn. "Review: Lanters, José. The theatre of Thomas Kilroy: no absolutes. Cork UP, 2018." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 73, no. 2 (2020): 151–55. http://dx.doi.org/10.5007/2175-8026.2020v73n2p151.

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For anyone studying contemporary theatre, José Lanters’ new book on Thomas Kilroy is essential. Lanters examines Kilroy’s writing and theatrical process for ten plays, positioning him as an Irish writer who blends global influences, works cooperatively with production teams, and is postmodern in thematic sensibility and experimental stylizing. She divides the study of these plays into three sections: “Nationalism and Identity,” “Gender and Sexuality,” and “Art and Mysticism.”
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Carlson, Susan. "Leaking Bodies and Fractured Texts: Representing the Female Body at the Omaha Magic Theatre." New Theatre Quarterly 12, no. 45 (1996): 21–29. http://dx.doi.org/10.1017/s0266464x00009593.

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The contemporary staging of Women's bodies raises both practical and theoretical issues, and in both text-based theatre and performance art women theatre artists are currently engaging these challenges in inventive ways. Drawing upon the inland expanses and ontological freedoms of the American Midwest, the women at the Omaha Magic Theatre have recently premiered two collaboratively written plays, Body Leaks and Sound Fields, which use image, action, technology, and text to engage issues of gender, identity, sexuality, and the material body. In these issues, the spectator is prohibited from mak
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Zeitlin, Froma, and Goran Stoev. "The Theater, Identity, and the Self." Identities: Journal for Politics, Gender and Culture 2, no. 2 (2003): 103–40. http://dx.doi.org/10.51151/identities.v2i2.103.

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Author(s): Froma Zeitlin | Фрома Зејтлин
 Title (English): The Theater, Identity, and the Self
 Title (Macedonian): Театарот, идентитетот и себноста
 Translated by (English to Macedonian): Goran Stoev | Горан Стоев
 Journal Reference: Identities: Journal for Politics, Gender and Culture, Vol. 2, No. 2 (Winter 2003)
 Publisher: Research Center in Gender Studies - Skopje and Euro-Balkan Institute 
 Page Range: 103-140
 Page Count: 37
 Citation (English): Froma Zeitlin, “The Theater, Identity, and the Self,” Identities: Journal for Politics, Gender and Cult
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VARNEY, DENISE. "Identity Politics in Australian Context." Theatre Research International 37, no. 1 (2012): 71–73. http://dx.doi.org/10.1017/s0307883311000794.

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Identity mobilises feminist politics in Australia and shapes discursive and theatrical practices. Energised by the affirmative politics of hope, celebration and unity, Australian feminism is also motivated by injustice, prejudice and loss, particularly among Indigenous women and minorities. During the 1970s, when feminist theatre opened up creative spaces on the margins of Australian theatre, women identified with each other on the basis of an unproblematized gender identity, a commitment to socialist collectivism and theatre as a mode of self-representation. The emphasis on shared experience,
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Lev‐aladgem, Shulamith, and Anat First. "Community theatre as a site for performing gender and identity." Feminist Media Studies 4, no. 1 (2004): 37–50. http://dx.doi.org/10.1080/14680770410001674635.

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Mandel, Corinne, and Paola Tinagli. "Women in Italian Renaissance Art: Gender, Representation, Identity." Sixteenth Century Journal 29, no. 2 (1998): 594. http://dx.doi.org/10.2307/2544574.

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Hällgren, Camilla. "Art Blended Research and Children’s Gender Identity Making." Creative Education 06, no. 22 (2015): 2333–50. http://dx.doi.org/10.4236/ce.2015.622240.

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Zirpolo, Lilian H., and Paola Tinagli. "Women in Italian Renaissance Art: Gender, Representation, Identity." Woman's Art Journal 20, no. 1 (1999): 46. http://dx.doi.org/10.2307/1358845.

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Pepe, Paulo Pires. "QUEERNESS IN BERNARDO SANTARENO'S THEATRE." Via Atlântica, no. 33 (September 11, 2018): 311–23. http://dx.doi.org/10.11606/va.v0i33.140960.

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This article examines Bernardo Santareno’s A promessa (1957) and Os marginais e a revolução (1979), arguing that the earlier play foreshadows a concern with sexual and gender relationships and expressions of queerness that only comes completely ‘out of the closet’ after the 25th of April, 1974. Taking particular religious and political constraints into account, and using Santareno’s plays as a starting point, I will explore the complex ways in which gender and sexuality, significant components of individual identity and identity relations, act as a means of dissolving barriers and uncover the
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Dissertations / Theses on the topic "Gender identity in the theater Gender identity in art"

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Acres, Harley Blue. "Gender bending and comic books as art issues of appropriation, gender, and sexuality in Japanese art /." Birmingham, Ala. : University of Alabama at Birmingham, 2007. http://www.mhsl.uab.edu/dt/2007m/acres.pdf.

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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 alternati
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Guillen, Marissa E. "The Performance of Tango: Gender, Power and Role Playing." Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1213208506.

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Marzani, Caroline. "Sou José, sou Maria: efeitos trans(gressores) no espetáculo Escravagina, da companhia Rainha de Duas Cabeças." Universidade Tecnológica Federal do Paraná, 2017. http://repositorio.utfpr.edu.br/jspui/handle/1/2594.

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Esta pesquisa analisou o efeito transgressor de gênero artístico, de identidade de gênero, de sexualidade e de comportamento social apresentados na peça teatral Escravagina, produzida pelo grupo Rainha de Duas Cabeças, de Curitiba-PR, produção teatral estreada em 2014. A peça conta com dramaturgia e direção de Cesar Almeida e com atuação da atriz Maite Schneider. O espetáculo narra a história pessoal da atriz que passou por um processo de transexualização. Na peça são discutidos padrões de beleza corporal, instituições normatizadoras e reguladoras de sexualidade, gênero, orientação sexual, des
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Fox, Emily. "Fabricating Womanhood." Diss., CLICK HERE for online access, 2010. http://contentdm.lib.byu.edu/ETD/image/etd3573.pdf.

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Hwang, Seunghyun. "Exploding Stereotypes Inside and Out: The Theatre of Young Jean Lee and Issues of Gender and Racial Identity." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1275404877.

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Cuskey, Lusie. "Roots in the Earth and a Flag in my Hand: Rural Gender Identity in American Musical Theatre." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/20431.

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The integrated musical is a vehicle for the creation and communication of a national identity, created through the use of coded performances of gender and, at times, rural settings conceptualized as essentially “American.” There is, however, little research about the ways in which gender operates in rural settings in musical theatre, or the ways in which rural gender identities are utilized to communicate nationalist ideologies. This thesis seeks to address this gap in research by examining three contemporary American musicals – Carrie, Violet, and The Spitfire Grill – in light of both America
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Imms, Wesley David. "Boys doing art negotiating masculinities within art curriculum /." Thesis, Full text available online (restricted access), 2003. http://images.lib.monash.edu.au/ts/theses/Imms.pdf.

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Mancino, Nicole. "Woman Writes Herself: Exploring Identity Construction in Laura Ingalls Wilder’s “Pioneer Girl.”." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1282590942.

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Patton, Joseph, and Joseph Patton. "Performing Identity: Exploring the Gender Politics of Graffiti and Street Art in Oakland, California." Thesis, The University of Arizona, 2017. http://hdl.handle.net/10150/624088.

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Street art and graffiti are predominantly made by urban residents to assert their presence in society; address social, political, and economic issues; and transform the physical spaces of a city. Historically dominated by men, the graffiti/street art subcultures are experiencing a rise in the participation by and recognition of women. Existing literature has generally focused on men's involvement, while the discussion of women writers/artists is often limited to how they have remained on the periphery. With the growing use of social media to publicize their artwork and connect with other artis
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Books on the topic "Gender identity in the theater Gender identity in art"

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Gendering the nation: Identity politics and the English comic theatre of the long eighteenth century. Orient Blackswan Private Limited, 2013.

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Taking liberties: Gender, transgressive patriotism, and Polish drama, 1786-1989. Ohio University Press, 2014.

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Cross-dressing in Chinese opera. Hong Kong University Press, 2003.

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Adrian Piper: Race, gender, and embodiment. Duke University Press, 2011.

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Women in Italian Renaissance art: Gender, representation, and identity. Manchester University Press, 1997.

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Stansbury-O'Donnell, Mark. Vase painting, gender, and social identity in archaic Athens. Cambridge University Press, 2006.

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Vase painting, gender, and social identity in archaic Athens. Cambridge University Press, 2005.

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Gendered (re)visions: Constructions of gender in audiovisual media. V&R Unipress, 2010.

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Créatures: Figures esthétiques de l'auto-engendrement. Éditions Nota Bene, 2012.

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Cross-gender Shakespeare and English national identity: Wearing the codpiece. Palgrave Macmillan, 2008.

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Book chapters on the topic "Gender identity in the theater Gender identity in art"

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Hogan, Susan. "Gender representation, power, and identity in mental health and art therapy." In The Routledge Handbook of Disability Arts, Culture, and Media. Routledge, 2018. http://dx.doi.org/10.4324/9781351254687-11.

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Decker, John R. "Dürer’s Feast of the Rose Garland and the Scuola dei Tedeschi as Strategies for Mediating Foreign, Masculine Identity." In Gender, Otherness, and Culture in Medieval and Early Modern Art. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-65049-4_6.

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Milanović, Aleksa. "The Impact of Western Society onto the Identity Politics of Sexual and Gender Minorities in Colonial and Post-colonial India." In Regimes of Invisibility in Contemporary Art, Theory and Culture. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-55173-9_5.

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Massari, Alice. "Introduction." In IMISCOE Research Series. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-71143-6_1.

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Abstract“How do we see refugees? The refugee has become a multifaceted symbol, the most prominent political figure of our time” states the brochure of an art retrospective by Khaled Hourani, a Palestinian artist reflecting on the reduction of refugees to abstract symbols of victimhood by humanitarian representations. In the eyes of the artist, the blue figure (Fig. 1.1), so common in relief organizations´ visual depictions, is the migrating human being, without a specific national, religious, ethnic, or gender identity. Yet, the visual landscape of contemporary displacement is anything but abstract. Images of overcrowded boats in the Mediterranean, refugee camps, improvised shelters along migration routes, children and families in need, and people stranded behind fences and walls have come to constitute a powerful reminder of contemporary conditions of displacement for people on the move. Yet, the question remains: how do we see refugees?
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Arreola, Dora. "Transgenero Performance." In Building Womanist Coalitions. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042423.003.0010.

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Validating the practice of art for the empowerment of female identity and contesting borders of gender and sexual identities, in this chapter, the author describes the collaborative process of Mujeres en Ritual Danza-Teatro, a cross-border, all-women dance-theatre company, which she founded in 1999 in Tijuana, Mexico. Rooted in ritual and contemporary techniques of physical theatre, the work of Mujeres en Ritual explores the limits of gender, taboo sexuality, and culture in the border region. It examines the exploitation of women’s bodies as an extension of U.S.-Mexico relations and political economy. Through a community-based process with women on both sides of the border, the company experiments with gender transgression and transformation to arrive at transgenero (“transgender” and “trans-genre”) performance.
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"—Exploring Gender Identity Through Art Making � � � � � � � � � � � � � �." In When Art Therapy Meets Sex Therapy. Routledge, 2016. http://dx.doi.org/10.4324/9781315690353-19.

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Turpin, John. "Visual Marianism and National Identity in Ireland: 1920-1960." In Art Nation and Gender. Routledge, 2018. http://dx.doi.org/10.4324/9781315192857-8.

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Wong, Hertha D. Sweet. "Faith Ringgold’s Story Quilts." In Picturing Identity. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469640709.003.0008.

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African American artist Faith Ringgold’s oversized story quilts are painted and stitched image-text narratives on fabric intended to be hung on art gallery walls. In all her work she thematizes race and gender, part of her project to revise historical misrepresentations and generate more accurate depictions. This chapter discusses Ringgold’s various interventions in a long history of textual and visual domination, noting also Ringgold’s innovations: how quilt squares function simultaneously as individual images or texts and as part of the entire visual field. Each quilt square functions as a page, while a series of quilt squares can function also as a frame. The sets of relations between page and frame and between image and text are multiple and variable.
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Bionda, Gabrijela. "Homoseksualnost i rodni identitet u suvremenoj hrvatskoj drami." In Periferno u hrvatskoj književnosti i kulturi / Peryferie w chorwackiej literaturze i kulturze. University of Silesia Press, 2021. http://dx.doi.org/10.31261/pn.4028.10.

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Homosexuality and gender identity issues, although lately often thematized, are still marginalized in Croatian society. Nonetheless, these topics occur as key concepts within which dramatic conflicts and characters are evolving. The two plays which will be analyzed were awarded with Marin Držić award for the best drama text and were staged in two Croatian theaters – ZKM and Kerempuh. The interpersonal relationships within one family and people close to the family members are on display in Tomislav Zajec’s play Ono što nedostaje. The main focus is on the sixteen-year-old David, who, appart from finding a way to communicate with his parents, has to struggle with his sexuality and the desire to be accepted and loved. In terms of speech and physical act his inner struggle is the greatest dramatic conflict and resolution at the same time, so his homosexuality is not in the focus of the play. The second play Ja od jutra nisam stao by Una Vizek addresses the issue of gender identity in today’s society. The author of the play attributes female characteristics to men by taking into account social prejudices and expectations. Each character is indicated with a number and their replica exchange is the usual form of a female chatter. The aim of this research is to show which strategies are used by authors to show the marginalization of the mentioned social groups, how characters are starting a conversation or losing the right to speak but also how they are entering into a dramatic conflict.
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Coulmas, Florian. "10. Who is behind the mask? Identity in literature." In Identity: A Very Short Introduction. Oxford University Press, 2019. http://dx.doi.org/10.1093/actrade/9780198828549.003.0010.

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In literature, we can find all aspects and dimensions of identity: identity through time, the mind–body problem, the identity of words and things, gender boundaries, identity crisis, divided loyalty, mistaken identity, split identity, and the demands of modernity for individuals to have a national, social, and gender identity. ‘Who is behind the mask? Identity in literature’ provides a range of illustrative examples. In addition to substantial questions of identity, the art of literature is also concerned with identity in two formal ways. Style expresses the identity of fictitious characters as well as of writers. Finally, by creating fictitious worlds, literature constructs identity puzzles in its own right.
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Conference papers on the topic "Gender identity in the theater Gender identity in art"

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Guerrero Balarezo, Maria Laura, and Kayvan Karimi. "Urban Art and place. Spatial patterns of urban art and their contribution to urban regeneration." In 24th ISUF 2017 - City and Territory in the Globalization Age. Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.6069.

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Cities face several challenges regarding public space and urban regeneration. Some of them are the depersonalization and lack of interest of citizens in their own city, privatization, gentrification, technologization and gender-insecurity. Public spaces lose their character as articulator and generator of human relations, while neighborhoods lose their role as the basic unity of community and urban identity. Nowadays, many bottom-up strategies have arisen as expressions of neighborhood’s inhabitant’s will, producing cultural diversity and civic engagement, with a placemaking effect. Urban art
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