Relevant bibliographies by topics / Women Theater Theater

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

Academic literature on the topic 'Women Theater Theater'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Women Theater Theater"

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Harding, Frances. "African Theater Women." African Arts 37, no. 3 (October 1, 2004): 89. http://dx.doi.org/10.1162/afar.2004.37.3.89.

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Goldmann, Kerry L. "Keepers of the Culture at 3201 Adeline Street." California History 98, no. 1 (2021): 98–120. http://dx.doi.org/10.1525/ch.2021.98.1.98.

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This article examines how the increase in the numbers of black-operated theaters between the 1960s and 1980s molded the character of black cultural and social movements in the West and nationally. The emphasis placed on institutionalizing black theater demonstrated a significant cultural front within the larger social, political, and economic conflicts of this era. These theatrical institutions were physical manifestations of the heart of Black Power campaigns, facilitating community outreach and sovereignty through separatism. Black theaters reflected local distinctions in leadership and ideology but within a broader, national call for black liberation and black autonomy. Professional theater impresarios Nora and Birel Vaughn began laying the foundations for their theater, the Black Repertory Group, in Oakland, California, in 1964. A repertory theater company performing in a fixed location, Black Rep would cycle through a repertoire of black-culture-specific plays, providing black performers and playwrights both recognition and income. Operating in a black-owned space gave Black Rep control over its productions and performance. Giving neighbors and community leaders the opportunity to participate behind the scenes or even perform in Black Rep theatrical productions endeared the troupe to its supporters, enmeshing Black Rep as a valued communal institution. Black Rep opened its space as an autonomous black community center, running voter registration drives, social and political gatherings, and classes in black culture and history that spread the values of the Black Arts and Black Power movements. In the right place at the right time, Black Rep led a black repertory theater movement that spanned the nation. More importantly, Black Rep survives to this day. It stands as a testament to the strength and vision of the women leaders of black theater, and to the values of coalition building, economic self-sufficiency, and community-based activism that guided its founders.
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Lampert, Sara E. "“The Presence of Improper Females” Reforming Theater in Boston and Providence, 1820s–1840s." New England Quarterly 94, no. 3 (September 2021): 394–430. http://dx.doi.org/10.1162/tneq_a_00903.

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Abstract This article examples the class and gender politics of theater reform in Boston, MA and Providence, RI of the 1820s-1840s focused on the third tier and sex work or prostitution in theaters. Both regulatory campaigns and Christian or moral reform mobilized constructions of the prostitute as predator while encouraging new policing of working women.
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Sánchez Cabrera, Noemí Gabriela. "Voces y dramatizados de reivindicación: La experiencia en una comunidad rural de Ecuador." INDEX COMUNICACION 9, no. 2 (June 30, 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 daughters at these homes. Given these circumstances, in edu-communication framework, both radio and theatre stand out with a social and liberating approach in the fight for equal rights and opportunities in men and women relationships. Keywords: Radio; Theater; Patriarchal Culture; Edu-communication; Equality.
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Zimnica-Kuzioła, Emilia, and Ewelina Wejbert-Wąsiewicz. "Female directors of contemporary Polish theater and cinema (selected examples)." Acta Universitatis Lodziensis. Folia Sociologica, no. 71 (December 30, 2019): 121–37. http://dx.doi.org/10.18778/0208-600x.71.09.

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The issue of artistic careers is rarely tackled by Polish sociologists. The article is an analysis of the work of selected contemporary Polish female film and theater directors. The present study exploits secondary sources (monographs and scientific studies, press and internet publications, interviews with directors) and primary sources: interviews with creators of Polish drama theaters conducted as part of the authors’ own research. Women in Polish theater and film are slowly breakingthe glass ceiling and they are taking their rightful place in the pantheon of artists who have a lot to say about our difficult modern times. Polish directors are true individuals however they raise important social problems. Their creativity is not feminist. They have their own signature style and their sex is of secondary importance.
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Malpede, Karen. "Theatre of Witness: Passage into a New Millennium." New Theatre Quarterly 12, no. 47 (August 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 writing and experiencing plays she calls ‘theatre of witness’ – in which the witnessing imagination affirms connections ‘based upon the human capacities to experience compassion and empathy for the self and for the other as powerful, motivating forces’. Karen Malpede is a widely performed and published American playwright and director, currently with the Theatre Three Collaborative in New York, where she also teaches at NYU's Tisch School of the Arts. Her People's Theater in America (1972) was a seminal study of its subject, as was her Women in Theater (1984) of the feminist theatre aesthetic.
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KATRAK, KETU H. "‘Stripping Women of Their Wombs’: Active Witnessing of Performances of Violence." Theatre Research International 39, no. 1 (February 10, 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. Clough, and upon theorist Saidiya V. Hartman's discussion of slavery that makes the human into an abject ‘non-human’. Continuing forms of female enslavement and resistances to domination are evident in the representations of sexual slavery in the two works.
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Ferziger, Naomi, Yossi Freier Dror, Lirit Gruber, Sara Nahari, Nofar Goren, Nurit Neustadt-Noy, Noomi Katz, and Asnat Bar-Haim Erez. "Audio description in the theater: Assessment of satisfaction and quality of the experience among individuals with visual impairment." British Journal of Visual Impairment 38, no. 3 (April 1, 2020): 299–311. http://dx.doi.org/10.1177/0264619620912792.

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Purpose: Audio description (AD) is the systematic method of describing images and visual events to people who are blind or visually impaired (B/VI). AD facilitates access to cultural events such as movies, theater, and professional conferences, and it is aimed at enhancing the partaker’s experience. The current study investigates the impact of AD on the quality of the theater experience during the initial stages of implementation of AD service in theaters in Israel. Specifically, the study analyzes the satisfaction of B/VI theater patrons from AD service as well as the quality of the AD theater experience in relation to the complete three-pronged “AD package”: auditory narration, a touch tour, and preshow notes. Methods: In all, 83 legally B/VI participants were recruited through social networks. Mean age 54 (±14); 58% women. Quantitative questionnaires were developed to assess the satisfaction, quality of the experience, and aspects of accessibility. Five theater productions were available with and without AD. Each participant attended two different plays, one which was audio described and one which was not. Half of the participants saw the AD play first and half saw the non-AD play first. Results: 87% of the participants reported high overall satisfaction from the AD narration service. In addition, high satisfaction was reported concerning the AD device (67%), pre-show notes (85%), and touch tour (77%). A comparison of the quality of the experience between plays with AD versus without revealed a significantly enhanced experience ( p < .001) when the play was audio described. In addition, several general accessibility issues were identified that impede participation. Conclusion: AD is an important service that should be used widely to enhance the engagement of B/VI individuals in cultural events. Furthermore, it is imperative that AD be provided alongside comprehensive accessibility considerations.
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Jeong, Youn-Gil. "Staging the Women in Irish Modern Theater." Yeats Journal of Korea 45 (December 30, 2014): 161–80. http://dx.doi.org/10.14354/yjk.2014.45.161.

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Antochi, Carmen. "The Female Artist in Romanian Inter-War Theater." Review of Artistic Education 17, no. 1 (March 1, 2019): 189–95. http://dx.doi.org/10.2478/rae-2019-0020.

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Abstract In Romania at the beginning of the twentieth century women were concerned with the home environment. In an urban environment, however, there had been a re-alignment towards education, women from affluent families having an artistic preoccupation, with them being determined and epochal. Though loved and admired on the stage, the women who embraced an artistic career were not looked upon with total respect by the society as a whole, because they were straying away from ‘their calling’. The opening towards the occident had lit the flame in our womens hearts to reach equality in rights, to occupy a place in society and to fight a prejudice image.
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Dissertations / Theses on the topic "Women Theater Theater"

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Phillips, Chelsea L. "“Carrying All Before Her:” Pregnancy and Performance on the British Stage in the Long Eighteenth Century, 1689-1807." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1418649014.

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Lin, Xiyu. "Confining Women| The Physical World of Machinal." Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10752184.

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In order to understand the world of Machinal, I researched the Snyder-Gray trial that inspired Sophie Treadwell to write the piece. This trial, in which a seemingly innocuous housewife was accused of conspiring with her lover to murder her husband, was a springboard to create the drama titled Machinal. The analysis of the Ruth Snyder case revealed a disguised misogyny that would be reflected in my scenic design, which depicts the world of Helen, grappling with her husband for freedom under the societal expectations of women. In the background, the ever-present typists sit on a platform looking down upon the stage, effectively blocking Helen’s exits. Recording her life in real time, they represent the prevailing public opinions that influenced Helen’s decisions. Trapped downstage, the bed was the only place where Helen could hide or protect herself from social pressures; it symbolized both her sanctuary and her prison. My scenic design created a simple but effective world to tell the story of Machinal, emphasizing the concept that, although Helen was freed by death, social oppression and discrimination against women persists to the present day.

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Vickery-Bareford, Melissa J. "Isabella Andreini : reimaging "woman" in early modern Italy /." free to MU campus, to others for purchase, 2000. http://wwwlib.umi.com/cr/mo/fullcit?p9998521.

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Anan, Nobuko. "Playing with America parody and mimesis in contemporary Japanese women's performance /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1930321591&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Whitaker, Macaela Carder. "Women in Stage Combat: A Study on Babes With Blades Theatre Company." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1429273849.

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Pohli, Carol M. "The feminization of wit : satire by British women writers, 1660-1800 /." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1299006501.

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Simon, Lindsay Amber. "Costume Design and Production for Trojan Women 2.0, by Charles Mee." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1396372490.

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Umbaugh, Melanie. "Meet-Cutes & Motherhood: Roles of Women in Recent Rom-Coms." Ohio University Honors Tutorial College / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1524838486510027.

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Armstrong, Kara Londré Felicia Hardison. "Women of Kansas City theatre mentors /." Diss., UMK access, 2004.

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Thesis (M.A.)--Dept. of Theatre. University of Missouri--Kansas City, 2004.
"A thesis in theatre." Typescript. Advisor: Felicia Hardison Londré. Vita. Title from "catalog record" of the print edition Description based on contents viewed Feb. 22, 2006. Includes bibliographical references. Online version of the print edition.
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Walsh, Alwyn Mae. "Performing (for) survival : performance tactics of incarcerated women." Thesis, University of Northampton, 2014. http://nectar.northampton.ac.uk/8889/.

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In an era characterised by impacts of cuts and austerity in the UK, this study is positioned at the interface between two socio-cultural institutions against which societies are judged: the arts and criminal justice. Within this field, the thesis investigates the ways women in prison are positioned in a carceral performance that is cyclical and inevitably ‘tragic’. The argument considers the tactics women use in order to firstly, survive their incarceration, and sometimes, resist, the institution. The theoretical frame is drawn from feminist criminology and Bourdieu’s ‘habitus’ to examine everyday performances as well as theatrical works by and about incarcerated women. This project adds to the field by locating performance practices in and of prison within wider social contexts of the politics of carceral spaces. The main questions posed by this project were ‘what does theatre/ performance offer to challenge stereotypes of ‘the cage’?; and to what extent and in what ways does performance in (and of) prison challenge/ subvert/ augment/ transform the site itself’? The research sought to understand to what extent women’s articulations of subjectivity could be a radical alternative to the logocentric and discursive prisons of sentences and prison records. The study was developed as an ethnographic examination of performance in and of prison, alongside exploring how contemporary performance modes are implicated in defining, containing, and correcting (criminal) women’s everyday performances. The thesis is primarily concerned with a critical reflection on theatre practices in prison, with particular emphasis on the political implications of the effects of prison as/and performance. The study makes claims for a radical practice in and about prisons that is distanced from current applied theatre practices, and as such points towards a more troubled rehearsal of how punishment is performed.
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Books on the topic "Women Theater Theater"

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Rothe, Friedrich. Arthur Schnitzler und Adele Sandrock: Theater über Theater. Berlin: Rowohlt, 1997.

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Rothe, Friedrich. Arthur Schnitzler und Adele Sandrock: Theater über Theater. Reinbek bei Hamburg: Rowohlt Taschenbuch Verlag, 1998.

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1966-, De Gay Jane, ed. Feminist stages: Interviews with women in contemporary British theatre. Amsterdam, Netherlands: Harwood Academic Publishers, 1996.

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Pewny, Katharina. Ihre Welt bedeuten: Feminismus, Theater, Repräsentation. Königstein/Taunus: U. Helmer, 2002.

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ill, Brown Pamela 1950, ed. Karen Strange, children's theater producer. Frederick, Md: Twenty-First Century Books, 1991.

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Muffled voices: Women in modern Indian theatre. New Delhi: Har-Anand Publications Pvt Ltd, 2013.

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Nightwood Theatre: A woman's work is always done. Edmonton, AB: AU Press, 2010.

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Imagining Medea: Rhodessa Jones & theater for incarcerated women. Chapel Hill: University of North Carolina Press, 2001.

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Sieg, Katrin. Exiles, eccentrics, activists: Women in contemporary German theater. Ann Arbor: University of Michigan Press, 1994.

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Women in traditional Chinese theater: The heroine's play. Lantham, MD: University Press of America, 2006.

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Book chapters on the topic "Women Theater Theater"

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Dimitrova, Diana. "Hinduism and Gender: Mythologizing and Othering Women." In Hinduism and Hindi Theater, 97–157. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-59923-0_5.

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Cavallaro, Daniela. "Scene femminili: Educational Theater for Women." In Women in Italy, 1945–1960, 93–107. New York: Palgrave Macmillan US, 2006. http://dx.doi.org/10.1057/9780230601437_7.

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Johnston, Joyce. "The Shifting Stages of Sophie Gay’s Theater Career." In Women Dramatists, Humor, and the French Stage, 63–97. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137452900_3.

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Furno, Raffaele. "Staging the (Sur)real World: Soledad Agresti’s Theater of Women." In Writing and Performing Female Identity in Italian Culture, 175–98. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-40835-4_9.

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Thompson, Lisa B. "“A Single Story”: African Women as Staged in US Theater." In Art, Creativity, and Politics in Africa and the Diaspora, 151–65. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-91310-0_8.

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Purkis, Charlotte. "The Other Gates: Anglo-American Influences on and from Dublin." In Cultural Convergence, 107–40. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-57562-5_5.

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Abstract An important influence on the foundation of the Dublin Gate Theatre in 1928 was the London Gate Theatre Studio. This chapter offers a historiographical survey concerning how the range of connections between these theatres have been treated by theatre commentators up to the present. Alongside this re-examination is a discussion of two other theatres that were also inspired by the London Gate, but established independently by the two London co-directors, Peter Godfrey and Velona Pilcher. Godfrey revived the early programming from London in 1943 at his ‘transplanted’ theatre in Hollywood, which also connected Los Angeles emigré culture back to Ireland. In London, Pilcher worked with a group of women associates to found a ‘new Gate’, the Watergate Theatre Club in 1949, which, with its avant-garde artistic ethos, had a cultural impact on the post-war London scene similar to the achievements of the earlier Gate theatres.
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Bystrom, Kerry. "Broadway without Borders: Eve Ensler, Lynn Nottage, and the Campaign to End Violence against Women in the Democratic Republic of Congo." In Imagining Human Rights in Twenty-First-Century Theater, 227–48. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137027108_13.

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Cavallaro, Daniela. "From Fairy Tale to Hysteria: Women in Italian Theater in the Early 1950s." In Writing and Performing Female Identity in Italian Culture, 127–51. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-40835-4_7.

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Adair, Zakiya R. "Transgressive (Re)presentations: Black Women, Vaudeville, and the Politics of Performance in Early Transatlantic Theater." In Understanding Blackness through Performance, 75–90. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137313805_5.

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Kano, Ayako. "Straightening the Theater." In Acting Like a Woman in Modern Japan, 57–84. New York: Palgrave Macmillan US, 2001. http://dx.doi.org/10.1007/978-1-349-63315-9_4.

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Conference papers on the topic "Women Theater Theater"

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Vakalou, M. "The Cretan Theatre at the Renaissance era. Approach of the women figures at the dramaturgy of Chortatsis: tragedy, comedy, pastoral drama." In VI Международная научная конференция по эллинистике памяти И.И. Ковалевой. Москва: Московский государственный университет им. М.В. Ломоносова, 2021. http://dx.doi.org/10.52607/9785190116113_117.

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