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Journal articles on the topic 'Theater Feminism in literature'

Author: Grafiati

Published: 4 June 2021

Last updated: 8 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Schlueter, June, and Gail Finney. "Women in Modern Drama: Freud, Feminism, and European Theater at the Turn of the Century." Theatre Journal 44, no. 1 (March 1992): 127. http://dx.doi.org/10.2307/3208537.

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12

Wright, Elizabeth, and Gail Finney. "Women in Modern Drama: Freud, Feminism and European Theater at the Turn of the Century." Modern Language Review 86, no. 1 (January 1991): 249. http://dx.doi.org/10.2307/3732175.

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13

Gilbert, Helen, Peta Tait, Venetia Gillot, Julie Holledge, Anna Messariti, Lydia Miller, and Mary Moore. "Converging Realities: Feminism in Australian Theatre." Theatre Journal 47, no. 3 (October 1995): 430. http://dx.doi.org/10.2307/3208908.

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14

VARNEY, DENISE. "Identity Politics in Australian Context." Theatre Research International 37, no. 1 (January 26, 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, collectivism and gender unity gave way in the 1980s to a more nuanced critical awareness of inequalities and divisions among women based on sexuality, class, race and ethnicity. My discussion spans broadly the period from the 1970s to the present and concludes with some commentary on recent twists and turns in identity politics.

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15

Sakowska, Aleksandra. "Feminist Shakespeare and saturation of experience in Monika Pęcikiewicz’s intermedial adaptations." Cahiers Élisabéthains: A Journal of English Renaissance Studies 96, no. 1 (April 5, 2018): 59–74. http://dx.doi.org/10.1177/0184767818768082.

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Monika Pęcikiewicz belongs to a handful of Polish theatre directors who identify themselves as feminists. It is a very important stance as feminism in Poland is considered a left-leaning proclivity, shunned for fear of being considered post-communist, antisocial or anti-Catholic. For Pęcikiewicz, Shakespeare’s texts alone are not enough to realize her artistic vision. She has shifted her attention to the use of new digital technologies, to undermine the narrative, linear quality of Shakespeare’s stories. Ultimately Pęcikiewicz is intent on producing different levels of experience for her spectators with a focus on female experience in particular.

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16

Shih, Yi-chin. "Uncommon Women’s Dilemmas in Wendy Wasserstein’s Quasi-Trilogy." International Journal of Applied Linguistics and English Literature 7, no. 4 (July 1, 2018): 213. http://dx.doi.org/10.7575/aiac.ijalel.v.7n.4p.213.

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Winning several important drama awards, such as the Pulitzer Prize and Tony Award, Wendy Wasserstein (1950~2006) is one of the significant playwrights in the history of American theatre. Especially, Wasserstein stimulates the public’s attention to women’s issues by recording many successful female characters in her plays. Aware of the impact of the women’s movement in the 1960s and 1970s, Wasserstein describes how the social movement influences women’s personal life and depicts the joy and pain that feminism brings them. While the backlash against feminism is saturated in the 1980s, Wasserstein also discusses this anti-feminist force in society to see women’s struggles and their awakening. This paper deals with three of Wasserstein’s plays, Uncommon Women and Others (1977), Isn’t It Romantic (1983), and The Heidi Chronicles (1988), together as a quasi-trilogy to examine the development of feminism over three decades from the 1960s to the 1980s and to portray the women’s dilemma of marriage or career. Regarding the women’s predicament of being either “in” or “out” of the family, the paper argues that Wasserstein in the plays sketches different possibilities by emphasizing the diversity of women’s life experience and their autonomy.

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17

DiCenzo, Maria. "Feminism, Theatre Criticism, and the Modern Drama." South Central Review 25, no. 1 (2008): 36–55. http://dx.doi.org/10.1353/scr.2008.0010.

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18

Walkowitz, Judith R. "COSMOPOLITANISM, FEMINISM, AND THE MOVING BODY." Victorian Literature and Culture 38, no. 2 (May 6, 2010): 427–49. http://dx.doi.org/10.1017/s1060150310000100.

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In October 1894, Mrs. Laura OrmistonChant, a feminist purity reformer, successfully challenged the music and dancing license of the Empire Theatre of Varieties before the licensing committee of the London County Council. Mrs. Chant raised two objections to the management of the Empire: first, that “the promenade, an open space behind the dress circle in front of the bar,” where 500 people circulated nightly, was used “as the habitual resort of prostitutes in pursuit of their traffic.” Her “second indictment” was that parts of the performance on stage were exceedingly indecent, including the costumes of the ballet dancers (“London County Council”). Chant had gone to the Empire promenade, twice dressed in her “best” evening gown, and been herself accosted. Her protest, declaredThe Sketch, provoked the “battle of the Empire,” a “great fight . . . waged with a war of words, a battery of correspondence, and a skirmish of sketches” (qtd in Faulk 77). Visually commemorated in the illustrated press and in numerous music hall spoofs, the “Battle of the Empire” was most extensively covered in the correspondence columns of theDaily Telegraph, under the heading, “Prudes on the Prowl.”

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19

Lamont, Rosette C. "case, sue-ellen, Feminism and Theatre by Rosette C. Lamontsue-ellen case. Feminism and Theatre. New York: Methuen 1988. Pp. 149. $29.95; $10.95(PB)." Modern Drama 32, no. 1 (March 1989): 159–61. http://dx.doi.org/10.3138/md.32.1.159.

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20

ASTON, ELAINE. "Agitating for Change: Theatre and a Feminist ‘Network of Resistance’." Theatre Research International 41, no. 1 (February 11, 2016): 5–20. http://dx.doi.org/10.1017/s0307883315000589.

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Focusing on the UK, where feminism is gaining momentum through multiple sites of activist dissent from a neoliberal hegemony, my primary concern in this article is to understand how, given this renewal of feminist energies, theatre might be able to play its part in agitating for change. Inspired by Chantal Mouffe's compelling description of a ‘network of resistance’, as a possible way forward I conceive of theatre politically as a series of heterogeneously formed sites of oppositional and affirmative activity, each linked into articulating dissent from neoliberalism and the desire for socially progressive change. This provides the critical framework for my engagement with three radically diverse performances ranging from new playwriting (Lucy Kirkwood'sNSFW), through the flash mob (Eve Ensler's One Billion Rising campaign), to the West End musicalMade in Dagenham.

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21

Thomas, Sue, Vivien Gardner, and Susan Rutherford. "The New Woman and Her Sisters: Feminism and Theatre 1850-1914." Theatre Journal 46, no. 4 (December 1994): 559. http://dx.doi.org/10.2307/3209087.

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22

Aston, Elaine. "Geographies of Oppression—The Cross-Border Politics of (M)othering: The Break of Day and A Yearning." Theatre Research International 24, no. 3 (1999): 247–53. http://dx.doi.org/10.1017/s030788330001909x.

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In the autumn of 1995 the Haymarket Theatre, Leicester, UK, staged two plays which offer a dramatic treatment of the politics of motherhood: Timberlake Wertenbaker's The Break of Day (Haymarket Mainhouse, first performance 26 October 1995) and Ruth Carter's A Yearning (Haymarket Studio, 31 October to 4 November 1995). Neither play had significant box-office success, and The Break of Day received poor and hostile reviews from (male) critics, many of whom, like Paul Taylor for The Independent, commented on the play as a dramatization of ‘how the maternal drive can cause women to betray orthodox feminism’. My counter argument is that by addressing infertility as a feminist issue for the 1990s, both plays index the need to re-conceive a politics of motherhood in an international arena, highlighting the ways in which the biological contours of women's lives are globally mapped with the specificities of social, material and cultural geographies.

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23

Davis, Tracy C., Susan M. Steadman, Gwenn Davis, and Beverley A. Joyce. "Dramatic Re-Visions: An Annotated Bibliography of Feminism and Theatre 1972-1988." Theatre Journal 45, no. 3 (October 1993): 394. http://dx.doi.org/10.2307/3208372.

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24

Fukelman, María. "TEATROS INDEPENDIENTES Y FEMINISMOS." Acotaciones. Revista de Investigación y Creación Teatral 44 (June 10, 2020): 67–94. http://dx.doi.org/10.32621/acotaciones.2020.44.01.

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En los últimos años, los feminismos han crecido de ma- nera exponencial en la Argentina. Este desarrollo vertiginoso tuvo su correlación en la academia. Teniendo en cuenta la transversalidad de los estudios de género, entendemos que esta perspectiva también debe ser considerada a la hora de analizar al teatro independiente, circuito teatral de gran reconocimiento, especialmente en la ciudad de Buenos Aires. Mientras que, por un lado, los estudios históricos deben rescatar del olvido a las mujeres que engrandecieron al teatro independiente de las primeras décadas —poco estudiadas e invisibilizadas por el modelo heteropatriarcal de la sociedad que nos contiene—, los estudios del pre- sente tienen que preguntarse por el rol de la mujer (y más géneros) en el teatro independiente de la actualidad. Es necesario que el teatro in- dependiente sea abordado y construido con una perspectiva de género, y eso implica, además, repensar las formas de vinculación y construc- ción. En el presente trabajo nos proponemos hacer un recorrido por las coincidencias que encontramos entre el movimiento feminista y el mo- vimiento de teatros independientes, indagar acerca de un posible modo feminista de hacer teatro independiente, y recuperar algunas de las deu- das pendientes que hay para con ambos movimientos.

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Piper, Judith. "Feminism and Theatre. By Sue-Ellen Case. New York: Methuen, 1988. Pp. 160." Theatre Research International 15, no. 1 (1990): 95–98. http://dx.doi.org/10.1017/s0307883300009603.

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BENÍTEZ OLIVAR, INMACULADA. "PERFORMATIVE SUBJECTHOODS: LESBIAN REPRESENTATIONS IN SPLIT BRITCHES’ BELLE REPRIEVE." Revista de Estudios Norteamericanos, no. 25 (2021): 51–74. http://dx.doi.org/10.12795/ren.2021.i25.03.

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Emerging postmodern theories of gender and sexuality frame the terms in which society has understood these concepts in an evolutionary way throughout history. The last century has witnessed the radical changes carried out mainly by feminist and LGTB movements. On the other hand, the theater, a subversive space where it is possible to experiment with different forms of subjecthood and communication, has been the laboratory in which it has been attempted to give a plastic form to these new currents of thought. In this sense, the work of Split Britches is remarkable for the innovative ways of bringing the abject to the political forefront. From the lesbian body to drag representation, Belle Reprieve (1991) is developed under the queer premise to dismantle heteropatriarchal hegemony and the binary gender system.

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27

Pollock, Griselda. "Staging Subjectivity: Love and Loneliness in the Scene of Painting with Charlotte Salomon and Edvard Munch." Text Matters, no. 7 (October 16, 2017): 114–44. http://dx.doi.org/10.1515/texmat-2017-0007.

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This paper proposes a conversation between Charlotte Salomon (1917–43) and Edvard Munch that is premised on a reading of Charlotte Salomon’s monumental project of 784 paintings forming a single work Leben? oder Theater? (1941–42) as itself a reading of potentialities for painting, as a staging of subjectivity in the work of Edvard Munch, notably in his assembling paintings to form the Frieze of Life. Drawing on both Mieke Bal’s critical concept of “preposterous history” and my own project of “the virtual feminist museum” as a framework for tracing resonances that are never influences or descent in conventional art historical terms, this paper traces creative links between the serial paintings of these two artists across the shared thematic of loneliness and psychological extremity mediated by the legacy of Friedrich Nietzsche.

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Fensham, Rachel. "Converging Realities: Feminism in Australian Theatre. By Peta Tait. Paddington, NSW: Currency Press, 1994. Pp. 276. AUS $19.95." Theatre Research International 20, no. 2 (1995): 175. http://dx.doi.org/10.1017/s0307883300008543.

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McMullan, Anna. "An Introduction to Feminism and Theatre. By Elaine Aston. London and New York: Routledge, 1995. Pp. x + 166. £30; 9.99." Theatre Research International 21, no. 1 (1996): 89. http://dx.doi.org/10.1017/s0307883300012852.

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30

Hornby, Richard. "Feminist Theatre." Hudson Review 50, no. 3 (1997): 470. http://dx.doi.org/10.2307/3853192.

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31

REINELT, JANELLE. "Generational shifts." Theatre Research International 35, no. 3 (October 2010): 288–90. http://dx.doi.org/10.1017/s0307883310000593.

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Thirty-five years, the age of TRI, is roughly the length of time I have been involved in our discipline. I completed my Ph.D. in 1974 and entered the profession on the cusp of a generational shift. During my first decade in the academy, a number of new young scholars emerged and began to take the places of an older cohort who were primarily theatre historians and/or drama critics and interpreters. The theory explosion changed the way that both theatre history and dramatic criticism were carried out, and a whole new range of methods and objects of study began to appear in our journals and conferences. Post-structural and postmodernist ideas upset the reigning conventions of scholarship and also influenced creative artists who changed their practice to reflect these new ideas. Feminism transformed our field, as did new research on race, class and sexuality, while competing theories of the subject brought forward psychoanalysis and phenomenology as important tools for performance analysis. Cultural studies and the new historicism challenged positivist historiography and began to change the kind of theatre history (including subjects and documents) scholars researched and wrote about. Political critique was in the ascendency, after a battle to discredit what many of us perceived as a false objectivity in previous scholarship. This became, eventually, the new orthodoxy for many of us, and the senior scholars in our field today (for example Sue-Ellen Case, Elin Diamond, Josette Féral, Erika Fisher-Lichte, Freddie Rokem, Joseph Roach) all participated in making these major changes happen as young scholars – while not necessarily agreeing with each other: the new generation was thoroughly heterodox in its approach to methods and topics.

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Nicolau, Adriana, and Teresa Iribarren. "The Staging of Ciudad Juárez’s Feminicides: Àlex Rigola and Angélica Liddell Speak for the Victims." New Theatre Quarterly 36, no. 2 (May 2020): 131–48. http://dx.doi.org/10.1017/s0266464x2000024x.

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Tackling violence against women in the theatre is often a controversial matter. To identify the ethical risks that victim representation may entail, we conduct a comparative analysis of two works about Ciudad Juárez’s feminicides staged in Barcelona: 2666 (2007), an adaptation of Roberto Bolaño’s novel directed by Àlex Rigola, and House of Strength (2011) by Angélica Liddell. This article argues that while Rigola reduces victims to mere sexual objects with no narrative of their own, Liddell places the voice and resilience of Mexicans in the foreground and represents their bodies respectfully. Adriana Nicolau is completing her doctoral studies on ‘Feminisms in contemporary Catalan theatre’ at Universitat Oberta de Catalunya (UOC) in Barcelona. Her publications include articles for Feminismo/s. Teresa Iribarren is an assistant professor at UOC, where she is the Director of the Catalan Literature, Publishing, and Society research group. Her current research focuses on narratives of violence and the promotion of human rights in literature.

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Rosenberg, Tiina. "The Soundtrack of Revolution Memory, Affect, and the Power of Protest Songs." Culture Unbound 5, no. 2 (June 12, 2013): 175–88. http://dx.doi.org/10.3384/cu.2000.1525.135175.

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All cultural representations in the form of songs, pictures, literature, theater, film, television shows, and other media are deeply emotional and ideological, often difficult to define or analyze. Emotions are embedded as a cultural and social soundtrack of memories and minds, whether we like it or not. Feminist scholarship has emphasized over the past decade that affects and emotions are a foundation of human interaction. The cognitive understanding of the world has been replaced by a critical analysis in which questions about emotions and how we relate to the world as human beings is central (Ahmed 2004: 5-12). It is in this memory-related instance that this article discusses the unexpected reappearance of a long forgotten song, Hasta siempre, as a part of my personal musical memory. It is a personal reflection on the complex interaction between memory, affect and the genre of protest songs as experiences in life and music. What does it mean when a melody intrudes in the middle of unrelated thoughts, when one’s mind is occupied with rational and purposive considerations? These memories are no coincidences, I argue, they are our forgotten selves singing to us.

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Shevtsova, Maria. "Unmaking Mimesis: Essays in Feminism and Theatre. By Elin Diamond. London & New York: Routledge, 1997. Pp. xvi + 226. £45 Hb; £13.99 Pb." Theatre Research International 23, no. 2 (1998): 193. http://dx.doi.org/10.1017/s030788330001871x.

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35

Lampe, Samantha. "‘Look at Me’, I’m femininity: The female persona in 1970s musical theatre." Studies in Musical Theatre 14, no. 3 (December 1, 2020): 321–30. http://dx.doi.org/10.1386/smt_00045_1.

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As the Women’s Liberation Movement developed in the 1970s, women challenged society’s limited female representation as either the Madonna or the whore. Musicals in the 1970s, including Grease (1972), Chicago (1975) and Evita (1979), complicated the female image through the juxtaposition of feminine stereotypes in the heroine’s persona. With each of the shows centralizing the plot around analysing the contradictory feminine image, the women perform in both public and private settings, along with other characters critiquing their personas. From feminist protesters to the writings of Simone de Beauvoir and Betty Friedan, Sandy, Roxie and Eva reflect the requests of contemporary women to display their gender as something beyond the perceived dichotomy of Madonna or whore in their music performances.

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Jurak, Mirko. "Some additional notes on Shakespeare : his great tragedies from a Slovene perspective." Acta Neophilologica 38, no. 1-2 (December 1, 2005): 3–48. http://dx.doi.org/10.4312/an.38.1-2.3-48.

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In the first chapter of this study the author stresses the importance of literature and Shakespeare's plays for our age. Although the enigma of Shakespeare's life still concerns many scholars it is relevant only as far as the solutions of some biographical details from Shakespeare's life influence the interpretation of his plays. In the section on feminism the focus of the author's attention is the changed role of women in the present day society as compared to previous centuries. In the final part of the article the role of the main female characters in Shakespeare's great tragedies is discussed. The author suggests that so far their importance has been underestimated and that Shakespeare left some of them open to different interpretations. Hamlet is definitely one of the most popular Shakespeare's plays in Slovenia and in addition to "classical" interpretations of this drama we have seen during the past two decades a number of experimental productions, done by both Slovene and foreign theatrical companies. In Appendix (1) the title of this paper is briefly discussed and the author' a work on Shakespeare is sketched; Appendix (2) presents a rap song on Hamlet written in English by a Slovene author. The song was used in the Glej Eperimental Theatre production (Hamlett/Packard, Ljubljana, 1992).

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37

Swift, Jayne. "Toxic Positivity?" South Atlantic Quarterly 120, no. 3 (July 1, 2021): 591–608. http://dx.doi.org/10.1215/00382876-9423071.

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This article examines how, in the public eye, the hooker became happy. Extending Sara Ahmed’s concept of the “happiness duty,” the article explicates how sex positivity has inaugurated “respectability” politics within sex worker social movements. The author argues that sex worker social movements have sought to change public debates about commercial sex, vis-à-vis an antistereotype strategy that reimagined the sex worker as a sex-positive feminist, distinguished less by her critical politics of pleasure and more by the implication that she freely chooses and finds happiness in her work. Emphasizing happiness has allowed sex workers to become legible as political actors within preexisting terms of liberal citizenship. This strategy, however, has effectively affirmed the cultural logics of the “rescue industry” and poses significant challenges to cross-class, -racial, and -age solidarity among those in the sex trades. To make this argument, the author analyzes original oral history interviews and sex worker cultural production associated with the Lusty Lady theater. A historically significant and recently closed commercial sex franchise located in San Francisco and Seattle, the Lusty Lady serves as a unique access point for understanding sex worker social movements, as it was a central institution in sex worker counterpublics. This article enhances analyses of sex worker social movements by considering how sex positivity has both cohered and constrained sex worker social movements.

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Jackson, Shannon. "Unmaking Mimesis: Essays on Feminism and Theater." Theatre Journal 51, no. 2 (1999): 223–24. http://dx.doi.org/10.1353/tj.1999.0026.

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Kent, Assunta. "Quiet Revolution: Feminist Considerations in Adapting Literature for Children's Theatre." Theatre Topics 1, no. 1 (1991): 35–42. http://dx.doi.org/10.1353/tt.2010.0000.

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Dieckmann, Lara E. "Toward a feminist chamber theatre method." Text and Performance Quarterly 19, no. 1 (January 1999): 38–56. http://dx.doi.org/10.1080/10462939909366246.

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Goodman, Lizbeth. "Theatres of Choice and the Case of ‘He's Having Her Baby’." New Theatre Quarterly 9, no. 36 (November 1993): 357–66. http://dx.doi.org/10.1017/s0266464x00008253.

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By way of introduction to the interview which follows with Joan Lipkin, director and playwright of That Uppity Theatre in St Louis, Missouri, Lizbeth Goodman here provides a context for the discussion of what she calls ‘theatres of choice’ – plays, feminist or otherwise, which deal with the issue of reproductive rights, now being actively challenged in the United States and under threat elsewhere. She looks at the history of legislative change and reaction in the United States, and in particular at the Supreme Court decision in the ‘Webster case’, which represented a victory for the neo-conservative movement. Among theatrical responses to this were Lipkin's ‘pro-choice musical comedy’, He's Having Her Baby, in which gender role-reversal and comic stereotypes were employed in an attempt to reach audiences in St Louis – the city at the centre of the Webster controversy. Lizbeth Goodman, who lectures in literature for the Open University, has published a sequence of feminist theatre interviews in New Theatre Quarterly, and her ‘Feminst Theatre in Britain: a Survey and a Prospect’ appeared in NTQ33 (February 1993). She is the author of Contemporary Feminist Theatres (Routledge, 1993).

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Baszczynski, Marilyn. "Laure Conan: Un Théatre au Féminin au 19e siècle." Theatre Research in Canada 14, no. 1 (January 1993): 20–30. http://dx.doi.org/10.3138/tric.14.1.20.

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Although Laure Conan was known primarily as Quebec's first woman novelist, she was also one of only two woman playwrights in l9th-century Quebec. In the male-dominated Québécois theatre, the mere fact that she was a woman writing in a very conservative and patriotic framework makes her work something of an anomaly. In this article the author proposes to explore how Conan's plays are considered avant-garde in their feminist perspective while appearing to convey the traditional values expounded in the mainstream literature and theatre of the day. The analysis will focus on feminist speech act theory and on the role of the female characters in Conan's plays.

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Fitzpatrick, Lisa. "Contemporary Feminist Protest in Ireland: #MeToo in Irish Theatre." Irish University Review 50, no. 1 (May 2020): 82–93. http://dx.doi.org/10.3366/iur.2020.0436.

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This essay draws upon the work of Judith Butler, Sara Ahmed, and Germaine Greer to consider the #MeToo movement and its reflection in the work of the author's students and the scandal at Dublin's Gate Theatre. Taking competing conceptions of freedom as they are materialised in this activism as it starting point, the essay questions intergenerational feminist ideas about the nature of freedom and its relationship to fear and to harassment. The essay returns to the feminist principle that ‘the personal is the political’ to reflect on women's lived experiences of threat and harassment, and young women's resistance to their objectification.

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Canning, Charlotte. "Constructing Experience: Theorizing a Feminist Theatre History." Theatre Journal 45, no. 4 (December 1993): 529. http://dx.doi.org/10.2307/3209019.

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Clark, Beverly Lyon, Barbara Christian, Ellen Carol DuBois, Gail Paradise Kelly, Elizabeth Lapovsky Kennedy, Carolyn W. Korsmeyer, Lillian S. Robinson, et al. "Feminism and Literature." Contemporary Literature 29, no. 2 (1988): 318. http://dx.doi.org/10.2307/1208447.

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Kumar, Sanjay. "ACTing: The pandies' theatre of Delhi." TDR/The Drama Review 48, no. 3 (September 2004): 79–95. http://dx.doi.org/10.1162/1054204041667703.

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Goodman, Lizbeth. "Feminist Theatre in Britain: a Survey and a Prospect." New Theatre Quarterly 9, no. 33 (February 1993): 66–84. http://dx.doi.org/10.1017/s0266464x0000748x.

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Despite widespread interest in the subject, there has been no previous attempt to collect comprehensive information concerning the history and present working conditions of feminist theatre companies in Britain: and so, with the exception of a very few assessments of particular companies, all too often what passes for critical analysis has had to depend on partial or merely anecdotal evidence. As part of her research for her book, Contemporary Feminist Theatres, forthcoming from Routledge in March, Lizbeth Goodman sent out between 1987 and 1990 a detailed questionnaire to 223 companies and organizations identified as having relevant concerns – whether in terms of company membership, production methods, policy aims, or targeted audience. With a response from 98 of these in hand, she assembled a detailed data-base from which the following article derives – describing the methods and aims of the survey itself, the nature of the response, and the needs in specific areas it revealed, both for the companies themselves and for the future assessment of their work. Lizbeth Goodman, currently a Lecturer in Literature for the Open University, has previously compiled a sequence of ‘Feminist Theatre Interviews’ for NTQ, and most recently contributed an overview of the state of contemporary Bulgarian theatre to NTQ32 (November 1992).

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Wolf, Stacy. "Performing Feminisms: Feminist Critical Theory and Theatre. Edited by Sue-Ellen Case. Baltimore: Johns Hopkins University Press, 1990. Pp. 327. $14.95." Theatre Research International 18, no. 2 (1993): 150. http://dx.doi.org/10.1017/s0307883300017405.

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Jacobs, Elizabeth. "Shadow of a Man: a Chicana/Latina Drama as Embodied Feminist Practice." New Theatre Quarterly 31, no. 1 (January 30, 2015): 49–58. http://dx.doi.org/10.1017/s0266464x15000056.

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One of the most important influences on the development of Cherríe Moraga's feminist theatre was undoubtedly the work of Maria Irene Fornes, the Cuban American playwright and director. Moraga wrote the first drafts of her second play Shadow of a Man while on Fornes's residency programme at the INTAR Hispanic Playwrights-in-Residence Laboratory in New York, and later Fornes directed the premiere at the Brava-Eureka Theatre in San Francisco (1990). The play radically restages the Chicana body through an exploration of the sexual and gendered politics of the family. Much has been written on how the family has traditionally been the stronghold of Chicana/o culture, but Shadow of a Man stages one of its most powerful criticisms, revealing how the complex kinship structures often mask male violence and sexual abuse. Using archival material and a range of critical studies, in this article Elizabeth Jacobs explores Moraga's theatre as an embodied feminist practice and as a means to displace the entrenched ideology of the family. An earlier version of this article was presented at the Department of English and Creative Writing, Aberystwyth University, as part of the 2014 International Women's Day events. Elizabeth Jacobs is the author of Mexican American Literature: the Politics of Identity (Routledge, 2006). Her articles have appeared in Comparative American Studies (2012), Journal of Adaptation and Film Studies (2009), Theatres of Thought: Theatre, Performance, and Philosophy (2008), and New Theatre Quarterly (2007). She works at Aberystwyth University.

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Davis, Jim. "Jane Austen and the Theatre. By Penny Gay. Cambridge: Cambridge University Press, 2002; pp. xi + 201. £37.50 cloth." Theatre Survey 45, no. 1 (May 2004): 141–42. http://dx.doi.org/10.1017/s0040557404330085.

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Penny Gay's study moves between the influence of theatre and drama on Austen's novels and theatricality itself as a mode of representation. While theatrical performance is considered, Gay's analysis generally emphasizes the impact of dramatic literature rather than theatrical representation, genre rather than performance. Through reference to the work of eighteenth-century women playwrights, Gay also places Austen's work and contemporary theatre in pervasively “masculine” and “feminine” discourses.

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