Relevant bibliographies by topics / Theater Feminism in literature

Contents

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

Academic literature on the topic 'Theater Feminism in literature'

Author: Grafiati
Published: 4 June 2021
Last updated: 8 February 2022

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Journal articles on the topic "Theater Feminism in literature"

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Jaime, Karen. "Patricia Herrera. Nuyorican Feminist Performance: From the Café to Hip Hop Theater." Modern Drama 64, no. 3 (August 1, 2021): 378–80. http://dx.doi.org/10.3138/md.64.3.br3.

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Patricia Herrera fills a void in scholarship on the Nuyorican Poets Café. Her focus on women performers ( performeras) and their writing and performance challenges these artists’ marginalization and erasure, while the Nuyorican feminist aesthetic she proposes, as situated within intersectional feminism, underscores the work’s critical intervention in feminist performance theory.
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Greeley, Lynne. "Whatever Happened to the Cultural Feminists? Martha Boesing and At the Foot of the Mountain." Theatre Survey 46, no. 1 (May 2005): 49–65. http://dx.doi.org/10.1017/s0040557405000049.

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In 1991, Martha Boesing, cofounder of At the Foot of the Mountain in Minneapolis, declared, “I'm not [just] a cultural feminist. I was a Marxist before these girls were even born!” The “girls” to whom she was referring were the critics whose negative response to the performance of the multicultural collaborative piece The Story of a Mother II at the Women and Theatre Program in Chicago in 1987 marked a decisive clash between competing notions of feminism in American theatre. Boesing later owned her own cultural feminism, as well as her Marxist evocation to action, but the conflict between cultural feminists (who sought performance as a means of building communities) and materialist feminists (who resisted being constructed as part of universalized womanhood) resulted in a divide that ultimately affected the reception and hence the historical impact of At the Foot of the Mountain. From their founding in 1974 to this performance in 1991, Boesing and At the Foot of the Mountain had been featured both in critical literature and at theatre conferences, hailed for their application of consciously articulated feminist politics in the creative process of their plays. After Chicago, they lost momentum as subjects of study in critical scholarship.
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Burroughs, Catherine, Sue-Ellen Case, and Lynda Hart. "Feminism and Theatre." Tulsa Studies in Women's Literature 9, no. 2 (1990): 326. http://dx.doi.org/10.2307/464232.

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Martin, Carol. "Brecht, Feminism, and Chinese Theatre." TDR/The Drama Review 43, no. 4 (December 1999): 77–85. http://dx.doi.org/10.1162/105420499760263543.

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American feminist theatre theorists have taken to Brecht's “Alienation Effects in Chinese Acting”. But what did Brecht know about Chinese acting? Could feminists benefit by looking past Brecht to the Chinese theatre itself?
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SHIM, JUNG-SOON. "Recasting the National Motherhood: Transactions of Western Feminisms in Korean Theatre." Theatre Research International 29, no. 2 (July 2004): 143–54. http://dx.doi.org/10.1017/s030788330400029x.

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The image of the National Motherhood is the potent cultural code for Koreans. The word ‘Feminism’ in the Korean context is identified as a system of ideas originating from the West. What happens when these two disparate cultural/historical impulses meet at the intersection of modern Korean theatre? This study examines the cultural transfer of Western feminisms and feminist plays in the Korean theatre from the 1920s, when Ibsen's play A Doll's House was first introduced to Korea, to the present. More specifically, it analyses six Western feminist plays such as Nell Dunn's Steaming and Marsha Norman's 'Night, Mother, by focusing on how the Korean women's movement and modern Korean drama movement intersect with each other in terms of historical and cultural background; how these two historical impulses interact with Western feminist plays in terms of the intentions and reception of such plays in the Korean theatre arena, and how the image of the National Motherhood, the potent cultural code for Koreans, intervenes in this process.
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Frost, Lauren Kathleen. "Big Daddy Lives or Don’t Say the F Word: Intersectional Feminist Directing in Theory and in Practice." Arbutus Review 10, no. 1 (October 4, 2019): 4–20. http://dx.doi.org/10.18357/tar101201918930.

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As a theatre and gender studies double major at the University of Victoria, I have been ableto critically think about the ways each of my fields of study could benefit the other. In myexperience, many courses in the UVic Department of Theatre generally focus on dramatic texts andtheoretical literature written by white men. Consequently, contributions to the theatre by women,people of colour, and/or non-Western theatre practitioners are largely dismissed or ignored. Myfrustration with this pattern was what led me to create Big Daddy Lives or Don’t Say the F Word,a part scripted, part devised performance piece that staged scenes from classic and contemporaryplays using directing theory written by feminists, for feminists. I curated the excerpts, wrote thetransition-text, and directed the play using an intersectional feminist framework. The project wasan experiment in applying intersectional feminism to theatre directing in order to critique the waythe male-dominated canon of plays and theories shapes theatre education. Through this project, Ifound that intersectional feminist directing techniques foster collaboration; encourage discussionand mutual education about identity, oppression, and representation; and can be applied to theproduction of both classics and contemporary feminist plays and to the creation of new work by anensemble.
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Hart, Lynda, and Sue-Ellen Case. "Feminism and Theatre." Theatre Journal 41, no. 2 (May 1989): 261. http://dx.doi.org/10.2307/3207879.

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Freedman, Barbara. "Frame-up: Feminism, Psychoanalysis, Theatre." Theatre Journal 40, no. 3 (October 1988): 375. http://dx.doi.org/10.2307/3208326.

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Aston, Elain. "The "Bogus Woman": Feminism and Asylum Theatre." Modern Drama 46, no. 1 (March 2003): 5–21. http://dx.doi.org/10.3138/md.46.1.5.

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STÅHL, KRISTINA HAGSTRÖM. "Introduction." Theatre Research International 32, no. 2 (July 2007): 103–5. http://dx.doi.org/10.1017/s0307883307002763.

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In the past decade and a half, feminism and gender studies have undergone a process of critical self-scrutiny and re-assessment. Presently, the fields of theatre and performance studies are undertaking a similar project of self-evaluation, as evidenced by recent calls to assess the ‘state of the field’ as well as its future directions. Elaine Aston and Geraldine Harrison suggest in their recent co-edited volume, Feminist Futures? Theatre, Performance, Theory, that any attempt to envision the future must begin by examining the present, which in turn entails looking to, and reflecting on, the legacies and remains of the past. In her article for this issue of TRI, ‘A Critical Step to the Side: Performing the Loss of the Mother’, Aston does precisely this, asking, ‘in what ways it might be critically productive to come back to the maternal as a subject for feminism’.
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Dissertations / Theses on the topic "Theater Feminism in literature"

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Meier, Cynthia Mildred. "A feminist archetypal analysis of Diane di Prima's Loba poems for performance." Diss., The University of Arizona, 1990. http://hdl.handle.net/10150/185269.

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Uncovering the feminine myth has been the topic of numerous studies. In recent years, research has focused on the return of ancient images of the goddess as the primary metaphor for the feminine myth. Utilizing feminine typologies from Jungian archetypalists and feminist scholars, this study summarizes the research on the archetypal feminine in order to analyze Diane di Prima's Loba poems. An analysis of the poems is undertaken and reveals patterns of feminine images which are consistent with other revisionist literature by women. The analysis is then used to frame a production of poems as a ritual celebrating the Loba as goddess. As Christine Downing suggests in The Goddess, women need images of the goddess to recognize the divine in themselves. The adaptation of the Loba poems for performance creates such an image. It also creates a theatre piece with what Sue-Ellen Case calls "woman as subject." As a result of this study, the goals of feminist archetypal theory are advanced as well as the goals of feminist theatre.
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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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Bai, Di. "A feminist brave new world : the cultural revolution model theater revisited." Connect to resource, 1997. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1129217899.

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Thesis (Ph. D.)--Ohio State University, 1997.
Advisors: Kirk Denton and Marlene Longenecker, Interdisciplinary Program. Includes bibliographical references (leaves 196-202). Available online via OhioLINK's ETD Center
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Najar, Daronkolae Esmaeil. "Pam Gems: Rethinking Her Life and the Impact of Her Plays on British Stage." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1523487108676837.

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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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Rathbun, Jennifer. "The dramatic feminine discourse of Cristina Escofet." Diss., The University of Arizona, 2002. http://hdl.handle.net/10150/289798.

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The Dramatic Feminine Discourse of Cristina Escofet interrogates this author's use of language as a way to unravel her feminist discourse. In her writings on theater, her public pronouncements and her theater workshops Escofet employs the term "kaleidoscope" to describe her approach to language: colorful, changing and composed of many components. Therefore, my search to describe Escofet's feminine discourse uses a definition of discourse that embraces its kaleidoscopic nature. My approach is grounded in the theoretical insights of Helene Cixous, first and primary disseminator of the theory of feminine discourse, who maintains that feminine writing is elusive and must be approached from different angles. Consequently, my thesis also encompasses a study of the images of women, and their sexuality, and the effects of simulacra on feminine identity. In Cristina Escofet's search for a contemporary image of women her feminine discourse reevaluates, destabalizes or reinvents the image of women that has been perpetuated through Hollywood and through the telling and retelling of fairy and folk tales. The image of or reference to heroines like Little Red Ridding Hood, Sleeping Beauty, Cinderella, or Snow White and of actresses such as Marilyn Monroe, Bette Davis, Greta Garbo, and the character Annie Hall are integrated into almost every one of Escofet plays. These images of Hollywood actresses and fairy and folk tale heroines stem from their performative gender roles. As Judith Butler explains, gender is an act created by society that has been mistaken for reality. To mistake the act for the real is a direct consequence of simulacra as explained by Jean Baudrillard. Escofet, conscious of the nature of signs in today's society, presents and explores the problems that arise out of the performative nature of gender, or rather, out of simulacra in relation to female's identity in her plays. The exploration of the image of women and the effects of simulacra on feminine identity continue in Escofet's characters' exploration of sexuality. Escofet adequately represents women's sexual beliefs, attitudes and experiences.
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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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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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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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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 /." Oxford, Ohio : Miami University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1217004796.

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Books on the topic "Theater Feminism in literature"

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Unmaking mimesis: Essays on feminism and theater. London: Routledge, 1997.

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James, Laurie. How I got to Harvard: Off and on stage with Margaret Fuller. New York: Golden Heritage Press, 1998.

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Legislating the French family: Feminism, theater, and republican politics, 1870-1920. New Brunswick, N.J: Rutgers University Press, 2003.

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Pedersen, Jean Elisabeth. Legislating the French family: Feminism, theater, and republican politics, 1870-1920. New Brunswick, N.J: Rutgers University Press, 2003.

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Feminist theatre: A study in persuasion. Metuchen, N.J: Scarecrow Press, 1985.

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P'eminisŭt'ŭ tŭrama ŭi ihae. Kyŏnggi-do P'aju-si: Han'guk Haksul Chŏngbo (Chu), 2011.

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Women in modern drama: Freud, feminism, and European theater at the turn of the century. Ithaca: Cornell University Press, 1989.

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Batra, Kanika. Feminist visions and queer futures in postcolonial drama: Community, kinship, and citizenship. New York: Routledge, 2011.

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Feminist visions and queer futures in postcolonial drama: Community, kinship, and citizenship. New York: Routledge, 2010.

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Taking center stage: Feminism in contemporary U.S. drama. Metuchen, N.J: Scarecrow Press, 1991.

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Book chapters on the topic "Theater Feminism in literature"

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Marwah, Anuradha, Anubhav Pradhan, and Sonali Jain. "Theatre, Feminism, and Society." In Literature, Language, and the Classroom, 134–46. London: Routledge India, 2021. http://dx.doi.org/10.4324/9781003049777-12.

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Jay, Paul. "Transnational theater." In Transnational Literature, 179–94. Abingdon, Oxon ; New York, NY : Routledge, 2021. |: Routledge, 2021. http://dx.doi.org/10.4324/9780429286667-9.

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Wilson-Tagoe, Nana. "Feminism and Womanism." In A Concise Companion to Postcolonial Literature, 120–40. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444317879.ch6.

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Stern, Kimberly J. "Feminism and Gender." In The Palgrave Handbook of Philosophy and Literature, 467–87. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-137-54794-1_22.

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Broder, Lesley. "9/11 Theater." In Transatlantic Literature and Culture After 9/11, 141–58. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137443212_9.

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Maierhofer, Roberta. "Feminism and Aging in Literature." In Encyclopedia of Gerontology and Population Aging, 1–8. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-69892-2_253-1.

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Marcus, Sharon. "The Theater of Comparative Literature." In A Companion to Comparative Literature, 136–54. Chichester, UK: John Wiley & Sons, Ltd, 2011. http://dx.doi.org/10.1002/9781444342789.ch10.

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Dooling, Amy. "Writing Chinese Feminism(s)." In A Companion to Modern Chinese Literature, 228–43. Chichester, UK: John Wiley & Sons, Ltd, 2015. http://dx.doi.org/10.1002/9781118451588.ch14.

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Kilbane, Aimee. "Theater of the underworld." In "Gypsies" in European Literature and Culture, 217–33. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230611634_12.

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Eagleton, Mary. "Coda: Phantom Feminism." In Clever Girls and the Literature of Women's Upward Mobility, 189–202. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-71961-0_8.

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Conference papers on the topic "Theater Feminism in literature"

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Rahman, Shahriyar. "Feminism amid Capitalist Conspiracy." In Annual International Conference on Language, Literature & Linguistics. Global Science & Technology Forum (GSTF), 2012. http://dx.doi.org/10.5176/2251-3566_l312109.

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Fan, Ji. "The Embodiment and Development of Feminism in English and American Literature." In 2017 2nd International Conference on Education, Sports, Arts and Management Engineering (ICESAME 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icesame-17.2017.371.

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Puspitasari, Andhika Dyah, and Else Liliani. "Feminism Analysis on Dewi Ria Utari’s “Topeng Nalar” Short Story." In Proceedings of the International Conference on Interdisciplinary Language, Literature and Education (ICILLE 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icille-18.2019.3.

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Yusnilita, Nopa, Januarius Mujiyanto, Mursid Saleh, and Dwi Anggani Linggar Bharati. "Using Readers’ Theater for Building Students’ Motivation in Learning Literature." In International Conference on Science and Education and Technology (ISET 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200620.112.

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Kusumadewi, Angela, and Sri Mulatsih. "Nyai Ontosoroh’s Feminism Movement Against Dutch Colonialism in Pramoedya Ananta Toer’s “Bumi Manusia” Novel’s Movie Adaptation." In Proceedings of the 2nd International Seminar on Translation Studies, Applied Linguistics, Literature and Cultural Studies, STRUKTURAL 2020, 30 December 2020, Semarang, Indonesia. EAI, 2021. http://dx.doi.org/10.4108/eai.30-12-2020.2311266.

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Akpınar, Mustafa Eren. "Analysis of Advertisements from Different Sectors in Turkey within the Context of Gender Equality." In COMMUNICATION AND TECHNOLOGY CONGRESS. ISTANBUL AYDIN UNIVERSITY, 2021. http://dx.doi.org/10.17932/ctcspc.21/ctc21.010.

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The concept of gender equality, which is among the most frequently discussed topics in our country, especially in recent years, appears as an area that has been examined intensively in the national agenda. As a result, different discussions may arise about the conceptual dimension. Even today, gender equality can often be confused with different disciplines. The best example of this is the misconception of the concept of feminism as gender equality. However, contrary to popular belief, feminism does not have the same meaning as gender equality. Although feminism is related to gender equality, they are not really substitute terms. Nevertheless, in many articles or researches, it can be seen that they are described as if they were the same. And yet, when the recent studies on gender equality are examined, these misunderstandings are observed to have begun to be overcome. At the same time, awareness is raised about gender equality thanks to these contents, and it is gradually increasing with the support of non-governmental organizations, big brands and platforms. The biggest indicator of this increase is the increased number of advertisements based on gender equality and the granting of awards related on the topic. For this reason, within the scope of this study, literature review is conducted on the advertisements that ranked in the category of Gender Equality at the 2019 Crystal Apple Award Ceremony and semiotic analysis methods, and interpretations are made on the advertisement pillar of the gender equality movement and the perception of gender in our country.
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Kennedy-Karpat, Colleen. "Adaptation studies in Europe." In 6th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2020. http://dx.doi.org/10.32591/coas.e-conf.06.02015k.

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Adaptation is a creative process that crosses and blurs boundaries: from page to stage, from small screen to big screen – and then, sometimes, back again. Beyond questions of form and medium, many adaptations also cross national borders and language barriers, making them important tools for intercultural communication and identity formation. This paper calls for a more intensive, transnational study of adaptation across print, stage, and screens in EU member and affiliate countries. For the highest possible effectiveness, interdisciplinarity is key; as a cultural phenomenon, adaptation benefits from perspectives rooted in a variety of fields and research methods. Its influence over transnational media flows, with patterns in production and reception across European culture industries, offers scholars a better understanding of how narratives are transformed into cultural exports and how these exchanges affect transnational relationships. The following questions are proposed to shape this avenue for research: (1) How do adaptations track narrative and media flows within and across national, linguistic, and regional boundaries? (2) To what extent do adapted narratives reflect transnational relationships, and how might they help construct Europeanness? (3) How do audiences in the EU respond to transnational adaptation, and how are European adaptations circulated and received outside Europe? (4) What impact does adaptation have in the culture industries, and what industrial practices might facilitate adaptation across media platforms and/or national boundaries? The future of adaptation studies and of adaptation as a cultural practice in Europe depends on the development of innovative, comparative, and interdisciplinary approaches to adaptation. The outcomes of future research can hold significant value for European media industries seeking to expand their market reach, as well as for scholars of adaptation, theater, literature, translation, and screen media.
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Kennedy-Karpat, Colleen. "Adaptation studies in Europe." In 6th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2020. http://dx.doi.org/10.32591/coas.e-conf.06.02015k.

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Adaptation is a creative process that crosses and blurs boundaries: from page to stage, from small screen to big screen – and then, sometimes, back again. Beyond questions of form and medium, many adaptations also cross national borders and language barriers, making them important tools for intercultural communication and identity formation. This paper calls for a more intensive, transnational study of adaptation across print, stage, and screens in EU member and affiliate countries. For the highest possible effectiveness, interdisciplinarity is key; as a cultural phenomenon, adaptation benefits from perspectives rooted in a variety of fields and research methods. Its influence over transnational media flows, with patterns in production and reception across European culture industries, offers scholars a better understanding of how narratives are transformed into cultural exports and how these exchanges affect transnational relationships. The following questions are proposed to shape this avenue for research: (1) How do adaptations track narrative and media flows within and across national, linguistic, and regional boundaries? (2) To what extent do adapted narratives reflect transnational relationships, and how might they help construct Europeanness? (3) How do audiences in the EU respond to transnational adaptation, and how are European adaptations circulated and received outside Europe? (4) What impact does adaptation have in the culture industries, and what industrial practices might facilitate adaptation across media platforms and/or national boundaries? The future of adaptation studies and of adaptation as a cultural practice in Europe depends on the development of innovative, comparative, and interdisciplinary approaches to adaptation. The outcomes of future research can hold significant value for European media industries seeking to expand their market reach, as well as for scholars of adaptation, theater, literature, translation, and screen media.
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