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Journal articles on the topic 'Women in theatre'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 April 2022

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1

Lev-Aladgem, Shulamith. "From Object to Subject: Israeli Theatres of the Battered Women." New Theatre Quarterly 19, no. 2 (2003): 139–49. http://dx.doi.org/10.1017/s0266464x03000058.

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Israeli institutional theatre has only just begun to toy with the idea of ‘feminist theatre’ and, despite a demonstrable increase in violence against women in Israel, with increased visibility in the mass media, the subject has yet to be confronted in mainstream theatres. However, women's creation has been longer at the frontier of theatre activities, and the issue of battered women has been a central theme of several community-based performances over the past two decades. In this article Shulamith Lev-Aladgem offers an overview of these plays – the first performed by professional actresses wh

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2

Austin, Gayle. "Women/Text/Theatre." Performing Arts Journal 9, no. 2/3 (1985): 185. http://dx.doi.org/10.2307/3245522.

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3

Lorins, Rebecca, and Jane Plastow. "African Theatre: Women." International Journal of African Historical Studies 37, no. 3 (2004): 553. http://dx.doi.org/10.2307/4129050.

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4

Keatley, Charlotte. "Art Form or Platform? On Women and Playwriting." New Theatre Quarterly 6, no. 22 (1990): 128–40. http://dx.doi.org/10.1017/s0266464x00004206.

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This is the second in a series of interviews with women who are involved, in various capacities, in feminist theatre today, whose career paths intersect and connect with the feminist movement and the feminist theatre movement, tracing developments and shifts in the feminist theory and practice of the past fifteen years. The first interview, in NTQ21, was with Gillian Hanna of Monstrous Regiment, and provided an update of a previously published interview as well as a discussion of contemporary work: its aim was to keep alive and accurate the current debate about British feminist theatre groups.

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5

Sánchez Cabrera, Noemí Gabriela. "Voces y dramatizados de reivindicación: La experiencia en una comunidad rural de Ecuador." INDEX COMUNICACION 9, no. 2 (2019): 163–82. http://dx.doi.org/10.33732/ixc/09/02vocesy.

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This paper describes how radio and theatre joint together in a rural community in Ecuador as instruments for women’s rights claiming, highlighting their roles in the public sphere. By means of a qualitative methodology with focus groups, women could show their reality, enclosed in a patriarchal culture that reflects the different faces of violence against women. This action research shows as results that woman´s role as a social subject is invisible and that inequality of roles at household chores affects the woman and that this practice is strongly reinforced in the discourse towards sons and

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6

Devlin, Diana, and Kerry Powell. "Women and Victorian Theatre." Modern Language Review 95, no. 2 (2000): 476. http://dx.doi.org/10.2307/3736156.

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7

Wilmer, Steve. "Women' Theatre in Ireland." New Theatre Quarterly 7, no. 28 (1991): 353–60. http://dx.doi.org/10.1017/s0266464x00006059.

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So close was the relationship between women and the Irish literary and theatrical renaissance that the severely diminished feminist role in contemporary Irish cultural and theatrical life contrasts all the more revealingly with the early achievements. In this article, which is an expanded version of a paper given at the 1990 conference of the International Federation for Theatre Research at Glasgow University, Steve Wilmer etches in the historical perspective, notably the significance of women's writing to the nationalist as well as the suffragist movement, and outlines the present situation,

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8

Mercer, Wendy S., and Elizabeth Woodrough. "Women in European Theatre." Modern Language Review 92, no. 4 (1997): 985. http://dx.doi.org/10.2307/3734266.

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9

Rapi, Nina. "Hide and Seek: the Search for a Lesbian Theatre Aesthetic." New Theatre Quarterly 9, no. 34 (1993): 147–58. http://dx.doi.org/10.1017/s0266464x00007739.

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Is there a specific lesbian theatre aesthetic? If so, is butch and femme at the heart of it? Or androgyny? Or the freedom-confinement dynamic? Or, on another level, distancing role from ‘essential being’, and ‘woman’ and ‘man’ as social constructs from male and female as biological entities? By focusing on a number of lesbian texts, including her own work, Nina Rapi explores both the theory and practice of an emerging aesthetic that reveals the ‘performance of being’, seeking to ‘shift the axis of categorization’, and so to create a new and exciting theatre language. Nina Rapi is a playwright

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10

Finney, Gail, Lesley Ferris, and Edward Burns. "Acting Women: Images of Women in Theatre." Theatre Journal 43, no. 4 (1991): 547. http://dx.doi.org/10.2307/3207996.

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11

Rutter, Carol, and Lesley Ferris. "Acting Women: Images of Women in Theatre." Shakespeare Quarterly 43, no. 3 (1992): 382. http://dx.doi.org/10.2307/2870540.

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12

Featherstone, Ann. "‘A Good Woman of Business’: The Female Manager in the Portable Theatre." Nineteenth Century Theatre and Film 45, no. 1 (2018): 9–26. http://dx.doi.org/10.1177/1748372718791052.

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The portable theatre embraced and valorised women throughout its 150-year history (from around 1800 to 1950), taking dramatic performances to towns and cities throughout the United Kingdom and Ireland. Mothers, wives and daughters were also actors and managers in these travelling companies, in close family units, and their career paths reflected both their skills and opportunities. Their working lives were physically hard, often organising theatrical licenses and recruiting professionals, as well as performing themselves. Many women combined the leading lady roles with management and caring fo

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13

Kruger, Loren. "African Theatre in Development, and: African Theatre Women (review)." Theatre Journal 55, no. 4 (2003): 738–40. http://dx.doi.org/10.1353/tj.2003.0174.

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14

Forsyth, Louise H. "Introduction: Les Femmes dans le Théâtre du Québec et du Canada / Women in the Theatre of Quebec and Canada." Theatre Research in Canada 8, no. 1 (1987): 3–8. http://dx.doi.org/10.3138/tric.8.1.3.

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This special issue is dedicated to the many women of Canada and Quebec who, from the very beginnings of this country, made a major contribution to its cultural life. Specifically, it is dedicated to the women who made, who taught how to make, or who helped to make theatre here. A glance through the volume will reveal, though, that it has been possible to speak of only a few of these women. In fact, the majority of their names and what they did will never be known - the Ursulines for whom theatre was a vital approach to education in early 17th century Quebec; the women in towns and outlying com

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15

Brigden, Cathy, and Lisa Milner. "Radical Theatre Mobility: Unity Theatre, UK, and the New Theatre, Australia." New Theatre Quarterly 31, no. 4 (2015): 328–42. http://dx.doi.org/10.1017/s0266464x15000688.

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For two radical theatres formed in the 1930s, taking performances to their audiences was an important dimension of commitment to working-class politics and civic engagement. Separated by distance but joined ideologically, the New Theatre in Australia and Unity Theatre in the United Kingdom engaged in what they described as ‘mobile work’, as well as being ‘stage curtain’ companies. Based on archival research and drawing on mobility literature, Cathy Brigden and Lisa Milner examine in this article the rationale for mobile work, the range of spaces that were used both indoor (workplaces, halls, p

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16

Beswick, Katie. "African theatre 14: contemporary women." Studies in Theatre and Performance 38, no. 2 (2016): 207–8. http://dx.doi.org/10.1080/14682761.2016.1256111.

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17

Gray, Stephen. "WOMEN IN SOUTH AFRICAN THEATRE." South African Theatre Journal 4, no. 1 (1990): 75–87. http://dx.doi.org/10.1080/10137548.1990.9687996.

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18

KATRAK, KETU H. "‘Stripping Women of Their Wombs’: Active Witnessing of Performances of Violence." Theatre Research International 39, no. 1 (2014): 31–46. http://dx.doi.org/10.1017/s0307883313000539.

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This essay creates a theoretical frame interweaving Jill Dolan's concept of ‘finding hope at the theatre’ with Michel Foucault's concepts of ‘biopower’ and ‘biopolitics’ to argue that spectators’ affective responses to performed violence in live theatre include hope and imagining social change. I draw upon my own active witnessing of theatrical performances of two works –Ruinedby Pulitzer Prize-winning African-American Lynn Nottage, andEncounterby the Indian-American Navarasa Dance Theater Company. Along with Dolan and Foucault, I draw upon affect scholarship by James Thompson and Patricia T.

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19

Ahmed, Hawzhen R., and Meram Salim Shekh Mohamad. "The Dilemma of Motherhood and Domesticity in Gina Gionfriddo’s Rapture, Blister, Burn." Twejer 3, no. 3 (2020): 957–86. http://dx.doi.org/10.31918/twejer.2033.26.

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This paper is a study of feminist theatre as a rejection of masculine superiority in theatre and social life. It examines a modern play that depicts the role of women as mothers and the conflicts defining the status of motherhood. It investigates thematic trends and objectives of feminist theatre, a theatre that started with the birth of second-wave feminism. It analyzes the reflection of women’s social and political lives as represented by this theatre. To meet that end, it examines Gina Gionfriddo’s Rapture, Blister, Burn (2013) that depicts issues of unsettled identities, women empowerment,

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20

Ragué, Maria-José. "Women and the Women's Movement in Contemporary Spanish Theatre." New Theatre Quarterly 9, no. 35 (1993): 203–10. http://dx.doi.org/10.1017/s0266464x00007922.

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The problems confronted by most women's theatre in reaching its own constituency and, when desired, gaining a wider hearing have been exacerbated in Spain by the long period of emergence from the Franco dictatorship, with its legacy of oppression. In this article, Maria–José Ragué offers an overview of the subject, outlining the historical context and exploring the work of women playwrights, then looking in particular at women's theatre groups based in Barcelona, at whose university she teaches theatre history. Maria–José Ragué is also a theatre critic and a playwright, having published Clytem

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21

Bastos, Beatriz Kopschitz Xavier. "Women in Irish Theatre: the Charabanc Theatre Company and Marie Jones." ABEI Journal 9 (June 17, 2007): 79. http://dx.doi.org/10.37389/abei.v9i0.3693.

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22

Whiting, Charles. "Images of Women in Shepard's Theatre." Modern Drama 33, no. 4 (1990): 494–506. http://dx.doi.org/10.3138/md.33.4.494.

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23

Levin, Richard. "Women in the Renaissance Theatre Audience." Shakespeare Quarterly 40, no. 2 (1989): 165. http://dx.doi.org/10.2307/2870817.

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24

Grimsted, David, and Jane Kathleen Curry. "Nineteenth-Century American Women Theatre Managers." Journal of American History 82, no. 2 (1995): 737. http://dx.doi.org/10.2307/2082276.

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25

Keleta-Mae, Naila. "Canadian Theatre Made for Black Women." Theatre Research in Canada 39, no. 2 (2018): 227–41. http://dx.doi.org/10.3138/tric.39.2.227.

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26

HUGHES, ALAN. "AI DIONYSIAZUSAI: WOMEN IN GREEK THEATRE." Bulletin of the Institute of Classical Studies 51, no. 1 (2008): 1–27. http://dx.doi.org/10.1111/j.2041-5370.2008.tb00272.x.

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27

Bassnett, Susan. "Women Experiment with Theatre: Magdalena 86." New Theatre Quarterly 3, no. 11 (1987): 224–34. http://dx.doi.org/10.1017/s0266464x00015207.

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In the autumn of last year, two events took place which marked in very different ways the recognition that feminist thinking has affected theatre more profoundly than through the necessary logistics of job and role redistribution. In August, the first-ever festival of women in experimental theatre, known as Magdalena 86, took place in Cardiff. Then, in the following month, the International School of Theatre Anthropology devoted its congress in Holstebro, Denmark, to the subject of ‘The Female Role’ – a title we borrow for this short feature, in which Susan Bassnett. who teaches in the Graduat

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28

Levitan, Olga. "Chekhovian Women in the Israeli Theatre." Maske und Kothurn 44, no. 1-2 (1998): 93–100. http://dx.doi.org/10.7767/muk.1998.44.12.93.

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29

Freeman, Sara. "Towards a Genealogy and Taxonomy of British Alternative Theatre." New Theatre Quarterly 22, no. 4 (2006): 364–78. http://dx.doi.org/10.1017/s0266464x06000558.

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In the third volume of The Cambridge History of British Theatre (2004), editor Baz Kershaw initiates his chapter ‘Alternative Theatres, 1946–2000’ with a short discussion of ‘contesting terms’ used by commentators to describe theatre outside the mainstream in the second half of the twentieth century. Kershaw's discussion serves as a necessary preface to ground his use of multiple historiographical strategies to address the subject with necessary brevity. But teasing out the terminology used to describe alternative theatre remains a fascinatingly complex task, constitutive of precisely the issu

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30

Johnston, Joyce Carlton. "Taking Humour Seriously: Women and the Theatre of Virginie Ancelot." Nottingham French Studies 53, no. 3 (2014): 267–84. http://dx.doi.org/10.3366/nfs.2014.0092.

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With twenty-one single-authored plays staged at Paris’ premier theatres during the 1830s and 1840s, Virgine Ancelot produced more theatrical works than any other French woman dramatist of the period. Despite her success, Ancelot's comedies and vaudevilles have received little critical attention. Contrary to the light façade common throughout much of her theatrical work, Ancelot's plays underscore the inequality and injustices experienced by women of her time. Her use of humour to simultaneously conceal and accentuate her attacks within the most public of literary genres indicates that a recons

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31

Lindovská, Nadežda. "Year 1948: Emancipation of Women and Slovak Theatre." Slovenske divadlo /The Slovak Theatre 66, no. 2 (2018): 141–63. http://dx.doi.org/10.2478/sd-2018-0009.

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Abstract From the cultural and art point of view, the year 1948 in Czechoslovakia was not just the so-called “Victorious February” of the working people. The remarkable phenomenon of this era, which was related to the post-war political and social movement, was the phenomenon of female emancipation and feminization of the stage production. During the two consecutive theatre seasons 1947/1948 and 1948/1949, at The New Scene Theatre of the National Theatre in Bratislava, several women, led by the director Magda Husaková-Lokvencová created several productions. For the first time, a sovereign femi

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32

Brewster, Yvonne. "Drawing the Black and White Line: Defining Black Women's Theatre." New Theatre Quarterly 7, no. 28 (1991): 361–68. http://dx.doi.org/10.1017/s0266464x00006060.

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Yvonne Brewster is best known in Britain as artistic director of Talawa Theatre, but she has also been active in the theatres of Jamaica, Africa, and America, having worked as a drama teacher, television production assistant and presenter, and film director in Jamaica before beginning her international theatre directing career. Talawa was founded in 1985 by four women, with Yvonne Brewster as director, and with the aim of using ‘the ancient African ritual and black political experience of our forebears to inform, enrich, and enlighten British theatre’. Although Talawa has as yet been unable to

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33

Long, Khalid Y. "La Donna L. Forsgren, Sistuhs in the Struggle: An Oral History of Black Arts Movement Theater and Performance." Modern Drama 65, no. 1 (2022): 122–25. http://dx.doi.org/10.3138/md-65-1-br2.

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La Donna Forsgren’s Sistuhs in the Struggle: An Oral History of Black Arts Movement Theater and Performance is a critical intervention in theatre studies, women’s studies, and Black studies, employing a narrative methodology to recover and centre the voices of Black women who built the Black Arts Movement.

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34

Bennett, Susan. "Theatre Audiences, Redux." Theatre Survey 47, no. 2 (2006): 225–30. http://dx.doi.org/10.1017/s0040557406000196.

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In retrospect, that Roland Barthes's insistence on “the death of the author” should have provoked an emergent interest in theatre audiences is hardly surprising. As, in literary studies, this brought about a new privilege for and investment in the reader, so too, in theatre and performance studies, there was an explicit recognition that what went on in the theatre was qualitatively and quantitatively more complicated and more exciting than the study of the playtext in the classroom. At the same time, the move to challenge a universalized (and thus male) viewing subject created new readings of

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35

White, Ann Folino. "In Behalf of the Feminine Side of the Commercial Stage: The Institute of the Woman's Theatre and Stagestruck Girls." Theatre Survey 60, no. 1 (2018): 35–66. http://dx.doi.org/10.1017/s0040557418000492.

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By Mabel Rowland's public accounting, the Institute of the Woman's Theatre helped hundreds of so-called stagestruck girls realize their ambitions by providing a safety net for the pitfalls of the commercial theatre. The organization, officially established in 1926 and in operation until roughly 1930, was said to have begun years earlier, “the outgrowth of a group which was formed in 1910 and used to meet in the Fitzgerald Building.” As president, Rowland—a press agent, well-known comedic monologist, and all-around theatre factotum—was supported by society women and a cadre of famous female wri

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36

Swinton, Tilda. "Subverting Images of the Female." New Theatre Quarterly 6, no. 23 (1990): 215–28. http://dx.doi.org/10.1017/s0266464x00004516.

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This is the third in a series of interviews with women who are involved in various capacities in feminist theatre today, whose career paths intersect and connect with the feminist movement and the feminist theatre movement, tracing developments and shifts in the feminist theory and practice of the past fifteen years. The first interview, with Gillian Hanna of Monstrous Regiment, set out to provide an update of previously published information, and thereby to keep alive and accurate the current debate about British feminist theatre groups. The second interview, with playwright Charlotte Keatley

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37

Malpede, Karen. "Theatre of Witness: Passage into a New Millennium." New Theatre Quarterly 12, no. 47 (1996): 266–78. http://dx.doi.org/10.1017/s0266464x00010265.

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Karen Malpede's monologue, ‘Baghdad Bunker’, whose origins in an experience of vicarious empathy she describes in the following article, was first performed by Ruth Maleczech at La Mama in June 1991. It subsequently became the centrepiece of Malpede's play Going to Iraq, about life in New York during the Gulf War. Later, in The Beekeeper's Daughter, she addressed our lack of empathy in the face of ‘racial cleansing’ in the former Yugoslavia. Here, Karen Malpede uses both this latter play and a play by the dissident Croatian playwright Slobodan Snajder, Snakeskin, as examples of an approach to

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38

CANNING, CHARLOTTE. "Directing History: Women, Performance and Scholarship." Theatre Research International 30, no. 1 (2005): 49–59. http://dx.doi.org/10.1017/s0307883304000860.

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The emergence of the director is usually seen as a crucial moment in late nineteenth-, early twentieth-century theatre history. Traditionally, the narrative of that emergence has focused on the director as a sole heroic individual, usually male. This article questions how that figure and those practices have been historicized. That historicization process has been (and continues to be) a disciplinary demonstration of power marked by the concomitant political operations of personal, geographical, and institutional identifications and affiliations. The specific political operation explored here

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39

Pacheco Costa, Verónica. "Theatre and politics: suffragist theatre in the United States." Revista Internacional de Pensamiento Político 16 (January 28, 2022): 247–58. http://dx.doi.org/10.46661/revintpensampolit.6135.

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One of the publicity tools used by British and then American suffragists was theatre. Suffragist theatre was written for a clear purpose, which was none other than political propaganda and performance as part of the campaign being conducted. In many cases, the plays performed reflected the situation in which women lived, denouncing their circumstances; in others, they were didactic works, explaining in a very simple and clear way the actions that were being carried out to secure women's rights.

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40

Meisner, Natalie, and Donia Mounsef. "Gender, Humour and Transgression in Canadian Women’s Theatre." Prague Journal of English Studies 3, no. 1 (2014): 47–63. http://dx.doi.org/10.2478/pjes-2014-0017.

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AbstractAre humour and laughter gender-specific? The simple answer, like most everything that is ideological, is “yes”. Many feminists in recent years have grappled with the question of humour and how it is often the site of much contestation when it comes to women using it as a tool of transgression. This paper probes the seemingly timeless antipathy between humour and representations of femininity through recourse to performance and theories of the body. This article holds the term “woman” up to scrutiny while simultaneously examining the persistence of both critical and philosophical recalc

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41

Monrós-Gaspar, Laura. "A ‘Distinctive’ Map of London: Women, Theatre and the Classics in 1893." Nineteenth Century Theatre and Film 47, no. 1 (2020): 26–42. http://dx.doi.org/10.1177/1748372719900453.

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Copious geographies of nineteenth-century London spectacle have been mapped following different scales and criteria. In this article, I invite readers to scrutinise London’s entertainment industry in 1893 focusing on the venues where modern reconfigurations and adaptations of Greek and Roman mythology by women were first staged. Such a map reveals microhistories of the streets, theatres, pleasure gardens and concert halls, where women as creators and agents of the classical revival played an essential role that has generally been forgotten by theatre historians and classical reception studies.

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42

Boyle, Catherine M. "Images of Women in Contemporary Chilean Theatre." Bulletin of Latin American Research 5, no. 2 (1986): 81. http://dx.doi.org/10.2307/3338653.

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43

Beng, Tan Sooi. "Breaking tradition; Women stars of Bangsawan theatre." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 151, no. 4 (1995): 602–16. http://dx.doi.org/10.1163/22134379-90003030.

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44

O'Sullivan, Jane. "Show and tell: Women and Australian theatre." Australian Feminist Studies 13, no. 27 (1998): 148–50. http://dx.doi.org/10.1080/08164649.1998.9994901.

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45

Daugherty, Diane, Betty Bernhard, and Kailash Pandeya. "Women Theatre Activists of India: Interview, 1997." Asian Theatre Journal 15, no. 2 (1998): 311. http://dx.doi.org/10.2307/1124146.

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46

Thomas, Elean. "Lion hearted women: the Sistren Theatre Collective." Race & Class 28, no. 3 (1987): 66–72. http://dx.doi.org/10.1177/030639688702800307.

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47

Stephens, Judith L. "Women and theatre program: Reactions and reflections." Women & Performance: a journal of feminist theory 4, no. 2 (1989): 14–19. http://dx.doi.org/10.1080/07407708908571125.

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48

T.H., Samjaila, and Gayathri Dr.N. "An Insight into the Psychological Issues of Indigenous Women through First Nations Theatre." International Journal of Psychosocial Rehabilitation 24, no. 03 (2020): 1065–72. http://dx.doi.org/10.37200/ijpr/v24i3/pr200859.

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49

ANAN, NOBUKO. "Identity Politics in Women's Performance in Japan." Theatre Research International 37, no. 1 (2012): 68–70. http://dx.doi.org/10.1017/s0307883311000782.

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In Japan, it was in the mid-1970s when women artists started to create their own professional theatre companies. This period also saw the development of the women's liberation movement in Japan, but there was no exchange between women theatre artists and activists. While the women artists explored a variety of issues in their work, with some few exceptions feminism was not their primary concern. This trend continues to this day, and accounts for why Tadashi Uchino argues that there has been no feminist theatre in Japan.

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50

Bratton, Jacky. "Working in the Margin: Women in Theatre History." New Theatre Quarterly 10, no. 38 (1994): 122–31. http://dx.doi.org/10.1017/s0266464x00000294.

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This is the text – appropriately, a ‘performance text’ – of the inaugural lecture delivered at Royal Holloway College, University of London, on 9 March 1993, by Jacky Bratton, following her appointment as Professor of Theatre and Cultural History. Although she holds her chair at a former women's college, Jacky Bratton reflects that the introduction of co-education in such institutions has in practice left them as male-dominated as the rest. Ironically, this continued marginalizing of women in academic life reflects the common view of theatre studies as itself a marginal discipline – almost as

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