Journal articles: '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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Yelderman, Logan A., Monica K. Miller, Shelby Forsythe, and Lorie Sicafuse. "Understanding Crime Control Theater." Criminal Justice Review 43, no. 2 (June 6, 2017): 147–73. http://dx.doi.org/10.1177/0734016817710695.

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Policies such as America’s Missing: Broadcast Emergency Response Alerts, safe haven laws, Megan’s law, and three-strikes laws have provided the public with a feeling of safety and security. However, research has provided evidence that disputes their effectiveness. These types of laws and policies have become known as “crime control theater” (CCT) because they appear to be effective, serve the public’s best interests, and provide a crime control purpose but are largely ineffective and have unintended negative consequences. Using self-affirmation and emotion theory, this study examines potential explanations as to why individuals might support CCT policies. It also investigates whether support differs based on relevant characteristics (e.g., gender, sample type, and preexisting beliefs about policy effectiveness). Results suggest that females and Amazon Mechanical Turk (MTurk) workers tend to support CCT policies more than males and college students. Further, the relationship between gender and support was mediated by anticipatory guilt, and this effect was stronger for individuals who did not believe in the effectiveness of the policy. Results suggest that individuals who believe the policy is effective will support it more than those who do not, regardless of their anticipated guilt. In contrast, those who doubt the policy only support it if they anticipate feeling guilty; this effect is stronger for women. Results can help explain why people support policies that are largely ineffective and suggest that relevance to the issue can help explain why some groups are more supportive than others.

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Tankovska, Snejina. "Women in Bulgarian theater: A promise of preserving and promoting the tradition of theater as art." European Legacy 2, no. 1 (March 1997): 15–17. http://dx.doi.org/10.1080/10848779708579683.

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Fiddler, A. "Exiles, Eccentrics, Activists: Women in Contemporary German Theater." German History 14, no. 3 (July 1, 1996): 430–32. http://dx.doi.org/10.1093/gh/14.3.430.

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Reinelt, Janelle, and Katrin Sieg. "Exiles, Eccentrics, Activists: Women in Contemporary German Theater." German Quarterly 69, no. 3 (1996): 362. http://dx.doi.org/10.2307/407697.

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Warner, Sara L. "The Medea Project: Mythic Theater for Incarcerated Women." Feminist Studies 30, no. 2 (July 1, 2004): 483. http://dx.doi.org/10.2307/20458976.

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Tilghman, Carolyn. "Staging Suffrage: Women, Politics, and the Edwardian Theater." Comparative Drama 45, no. 4 (2011): 339–60. http://dx.doi.org/10.1353/cdr.2011.0031.

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Ziter, Edward Blaise. "The Syria Trojan Women: Rethinking the public with therapeutic theater." Communication and the Public 2, no. 2 (May 31, 2017): 177–90. http://dx.doi.org/10.1177/2057047317711956.

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Therapeutic theater projects with Syrian refugees in Jordan and Lebanon work at the intersection of the public and the private, facilitating individual healings while also promoting new group identities. The playing space becomes an open discursive field in which varied understandings of the self become platforms for new understandings of the nation. In the process, these artists/refugees trouble the boundaries between the private and the public, potentially creating a new public sphere that is not only revolutionary in its critique of entrenched political power but in its reformulation of the idea of the public itself. This article examines one such project, The Syria Trojan Woman, directed by Omar Abu Saada. The article places this work in the context of Abu Saada’s work in applied theater in Syria prior to the uprising and within the larger context of Syrian political theater. Applied theater, an umbrella term designating performance valued as efficacious as well as aesthetic, has had a brief and difficult history in Syria because of its capacity to undermine the regulation of speech. In the case of The Syria Trojan Woman, this speech has traveled beyond the countries hosting refugees through the efforts of non-governmental organizations that bring additional fundraising and consciousness-raising objectives to the endeavor. Through international tours and the use of new media, local performances become international phenomenon, further complicating the idea of a revolutionary public sphere.

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Jamil Shahwan, Saed, and Tasneem Rashed Said Shahwan. "Development of Literary Forms in Theater and Novel during the Victorian Era." International Journal of Applied Linguistics and English Literature 8, no. 5 (September 30, 2019): 49. http://dx.doi.org/10.7575/aiac.ijalel.v.8n.5p.49.

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Appropriate understanding and embracing of the literature in the 19th century in Britain, should be considered so crucial when it comes to writing of novel and the same as to that of theater. Although Radcliff & Mattacks (2009) point out the changes experienced in theatre during the Victorian era, this research further explains the role of human activities in influencing changes in literary forms. There are a number of factors that are seen to be taking place at this particular period, lack of some basic understanding hindered the whole concept of writing. This period was commonly referred as the Victorian era and novel writing were considered to be on the lead when it came to literary genre. Most of the novels at this particular period were published in three volumes, several developments are clearly observed by introduction of other styles such as the satire writing. The women are now given equal opportunities and their work is being acknowledged without any challenges. On the other hand, the 19th century makes a great impact on the theatre; this can be illustrated by the number of developments that were involved. This stage was identified as the revolving stage and these changes were observed as from the 1896. This paper presents the major activities that took place in the 19th century in Britain that took place in the writing of the novel, the impact that it had on the novelist and so is that on the theater. This paper goes on to present the kind of society that existed in this era, the cultures and their way of life which includes the division of classes among the people of Britain.

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Trovato-Apollaro, Simona. "Desarrollando cambios en nuestra lectura del mundo: Una propuesta pedagógica desde la investigación acción participativa." Revista Electrónica Educare 21, no. 2 (April 12, 2017): 1. http://dx.doi.org/10.15359/ree.21-2.3.

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This paper presents the results of a research conducted with the group Women of Theater from Alajuelita. The research intended to answer the question of how to develop changes in our reading of the world. The goal of our study was the co-researchers’ raising awareness process leading them, from themselves, and by means of the abovementioned group, to read, interpret and reconstruct the environment in order to yield transformations in their lives and community. Through reflection, the process was investigated on the basis of the pedagogical practices of Augusto Boal´s Theater of Oppressed (Boal, 1980), as they were applied at the theater workshop together with the group of Women of Theather, at the library of the Educative Center Los Pinos in Alajuelita. The main elements of the implemented methodology respond to the Participative Action Research (PAR), where the dialectical participative relationship and the collective discussion make it possible the creation of learning. We used audio recordings as data collection tools, which were later systematized for their analysis. The paradigmatic position assumed was inspired by an approach related to the concept of complexity. This concept proposes a holistic view of reality, life, and, so, of pedagogy. According to such a view, we all are one, and the multiplicity is interconnected with each one of its parts, in continuous entropy. Under this approach, where the world is a system of systems interconnected among themselves, the main finding was to perceive pedagogy as an instrument for humanization, a magical object capable of valuing diversity and transforming our thoughts, life styles and values, and, in consequence, our reading of the world. We considered that such an important finding might help to develop changes in human beings and might inspire us to assume an ecological perspective towards relationships. Such a perspective might give rise to deep transformations in our social, political and economic structures.

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Bloom, Leslie Rebecca, Amanda Reynolds, Rosemary Amore, Angela Beaman, Gatenipa Kate Chantem, Erin Chapman, Jan Fitzpatrick, et al. "Identify This…" International Review of Qualitative Research 2, no. 2 (August 2009): 209–28. http://dx.doi.org/10.1525/irqr.2009.2.2.209.

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Readers theater productions are meaningful expressions of creative pedagogy in higher education. This article presents the script of a readers theater called Identify This… A Readers Theater of Women's Voices, which was researched, written, and produced by undergraduate and graduate students in a women's studies class called Intersections of Race, Class, and Gender. Section one of the article reproduces the script of Identify This that was based on life history interviews with a diverse selection of women to illustrate intersectional identities. Section two briefly describes the essential elements of the process we used to create and perform Identify This.

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Bloom, Leslie Rebecca, Danielle Cooperstock, Gianna Chacon, Jane Whitford, Molly Bernard, Amanda Marquez, Erin McGuire, Brendan Paradies, and Sydney Laport. "The Myth of the American Dream." International Review of Qualitative Research 11, no. 1 (February 2018): 95–115. http://dx.doi.org/10.1525/irqr.2018.11.1.95.

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This article presents the script of “The Myth of the American Dream,” a readers theater researched, written, and presented by students in a women's and gender studies class called “Women, Social Class, and Social Policy.” The script illustrates six diverse respondents’ perspectives on how family backgrounds, intersectional identities, and high school experiences influenced college access and experiences, student debt, and current circumstances. The script poses the question: Does higher education, especially for students raised in low incomes, help achieve the American Dream? The article concludes with a reflection on this readers theater and why Bloom includes readers theater projects in her undergraduate classes.

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Cavallaro, Daniela. "Who Says You Can’t Be a Saint? Female Saints as Heroes on the Italian Catholic Stage." Journal of Humanistic Psychology 58, no. 4 (July 28, 2017): 444–59. http://dx.doi.org/10.1177/0022167817722272.

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This essay considers how one modern order of Catholic priests and nuns, the Salesians, presented the lives of female saints as heroic role models through theater to young women in Italy in the post-World War II years. My discussion touches on the Salesian use of theater in education; the most important Salesian woman author, Caterina Pesci; the heroic journey of the saints that Pesci chose as role models; the effect that the theatrical representation of these saints was meant to make on performers and audience, and the historical reasons for the importance of saints as heroic role models in postwar Italy.

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Pilloni, Giulia. "The figure of the woman in Sardinian theater of the 1970s: The case of the theater company La Maschera of San Sperate." Dziennikarstwo i Media 11 (January 24, 2020): 29–35. http://dx.doi.org/10.19195/2082-8322.11.3.

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This piece of resesch aims to study the emancipation of women in the world of theater through a particular case that occurred at the end of the 1960s in a small peasant town in southern Sardinia, San Sperate. Ida Pillitu is a woman who started acting and has been working in the La Maschera Theater Company since 1971, when they began to produce more socially engaged shows. I mainly conducted this research through some archive documents and an interview with Ida Pillitu, who revealed to me the effort and the determination with which she achieved her goals and her dream of becoming an actress.

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Coello Hernández, Alejandro. "El monólogo como práctica dramatúrgica feminista en los años ochenta: el ejemplo de Maribel Lázaro (La fosa y La defensa)." Clepsydra. Revista de Estudios de Género y Teoría Feminista, no. 19 (2020): 43–61. http://dx.doi.org/10.25145/j.clepsydra.2020.19.03.

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The visibility and recognition of Women playwrights in Spanish theater did not occur until the eighties after the conquests of feminist movements. For that reason, women playwrights explore in their works new ways of thinking about subjectivity. The monologue provides them with a way of exploring themselves and with a form of engaged theater. This textual corpus is studied in this article in a global way in order to contextualize feminist dramaturgies and in particular the dramatic proposals of Maribel Lázaro, who in 1986 wrote two monologues La fosa [The pit] and La defensa [The defense]. Therefore, we analyze the terminological problem around the concept of «monologue». Moreover, we reflect on the dramatic structure in which the denunciation, self-recognition and negation of the discourse of the female character coexist in a paradox that opens the path to a consolidation of the feminist theater in Spain.

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Kimura, Keiko. "Women in Madness: “Hanjo” and “Sumidagawa” in Noh Theater." International Journal of Literary Humanities 10, no. 2 (2013): 75–85. http://dx.doi.org/10.18848/2327-7912/cgp/v10i02/43863.

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Evans, Megan. "Women in Traditional Chinese Theater: The Heroine's Play (review)." Asian Theatre Journal 23, no. 2 (2006): 412–15. http://dx.doi.org/10.1353/atj.2006.0019.

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Shea, Christine M., Mary Fran Fran T. Malone, Justin R. Young, and Karen J. Graham. "Interactive theater: an effective tool to reduce gender bias in faculty searches." Equality, Diversity and Inclusion: An International Journal 38, no. 2 (March 11, 2019): 178–87. http://dx.doi.org/10.1108/edi-09-2017-0187.

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Purpose The purpose of this paper is to describe the development, implementation and impact evaluation of an interactive theater-based workshop by the ADVANCE program at the University of New Hampshire (UNH). The workshop is part of a larger institutional transformation program funded by the National Science Foundation. Design/methodology/approach This institutional transformation program relied upon a systems approach to diagnose potential causes for the underrepresentation of women faculty in certain disciplines. This revealed that increasing awareness of, and reducing, implicit gender bias among members of faculty search committees could, in time, contribute to increasing the representation of women faculty at UNH. A committee charged with developing a faculty workshop to achieve this change identified interactive theater as an effective faculty training approach. The committee oversaw the development of customized scripts, and the hiring of professional actors and a facilitator to implement the workshop. Findings The workshop’s effectiveness in fulfilling its goals was assessed using faculty hiring and composition data, program evaluations, participant interviews and questions in an annual faculty climate survey. Findings indicate that the representation of women faculty increased significantly at UNH since the implementation of the interactive theater workshop. Analysis of the multiple sources of data provides corroborating evidence that a significant portion of the increase is directly attributable to the workshop. Originality/value This paper demonstrates the effectiveness of interactive theater-based workshops in an academic environment and of the systems approach in diagnosing and solving organizational problems.

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Lenakakis, Antonis, Dimitra Kousi, and Ioannis Panges. "‘Do women know how to drive?’ A research on how theatre pedagogy contributes to dealing with gender stereotypes." Preschool and Primary Education 7, no. 1 (April 16, 2019): 53. http://dx.doi.org/10.12681/ppej.19347.

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This research aims at investigating the effects of a drama/theater-in-education program on dealing with gender stereotypes; it also aims at creating or improving a culture of cooperation and communication among 6th grade pupils of a Greek primary school. On the premise that drama/theater promotes play, free and creative expression, we attempted to bring out the pupils’ perceptions, subconscious thoughts, prejudices, emotions and fears regarding gender, through both qualitative and quantitative tools. The sociometric test analysis, the subject analysis of the data gathered by the student group interviews, the critical friend’s comments and the researchers’ reflective journals indicate a shift in the pupils’ stereotypical perceptions on gender as well as a broadening of the social networks between boys and girls. The educational drama/theater practices of our program provided the students with a safe, free and creative environment that enabled them to talk about, negotiate and express with all senses their personal representations, values, views and gender stereotypes.

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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 (December 21, 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 writers and performers, including Florence Reed, who served as Vice President, and charter members Julia Arthur, Irene Castle, Rachel Crothers, Helen Hayes, Violet Heming, Elsie Janis, Anita Loos, Mary Pickford, and Mary Shaw, plus about a dozen more. At the time of its official founding, the institute announced that it would undertake three activities. First, it sought to establish aprofessionalBroadway theatre as exclusively a women's operation, employing female playwrights, designers, directors, managers, producers, box-office staff, and so forth: “The only men who will be connected with the enterprise … are the actors and stagehands.” Second and third, the institute would give “aid and advice to girls from out of town who think they have something to offer the theater, read scripts and give opinions thereon, and in other ways labor in behalf of the feminine side of the stage.” The institute's goal of a theatre in tandem with discovering talented women looked to create a meaningful shift in women's inclusion and power within commercial theatre.

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Subrata Saha, Asoke Howlader, Arindam Modak,. "THEATER AND HEALTH EDUCATION: REPRESENTATION IN SELECT PLAYS OF MAHESH DATTANI." Psychology and Education Journal 58, no. 2 (February 1, 2021): 3982–88. http://dx.doi.org/10.17762/pae.v58i2.2668.

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Theater plays a crucial role to represent the life and manners of a particular society. It acts as an informal tool for developing consciousness and promoting empowerment through education. Contemporary theater in India is no exception to this. It has the efficacy to build critical awareness among common people in general and women in particular. It critiques the social inequality and opens up the scope for bringing consciousness about gendered violence prevalent in contemporary Indian society. From 1970s onwards, the emergence of urbanization and industrialization had offered various opportunities for people irrespective of gender differences. Yet, it could not suppress the ‘other side’ of violence in Indian society. Mahesh Dattani, a pioneer in the world of modern Indian English Theater, is highly regarded as a social critic of contemporary urban life and manners. He sincerely presents dysfunctional families, individual dilemmas and societal problems, and gender issues including forbidden issues in his plays. As a conscious dramatist, Dattani reveals childhood maltreatment in his plays which focus on physical and mental illnesses among victims. He tries to sensitize the common people by representing the impact of discrimination on health as it is seen to be fatal in women. The present paper intends to analyze the impact of gender bias on women’s health as represented by Mahesh Dattani in his plays – “Tara” and “Thirty days in September.” In doing so, it embraces the educational implication of dramas through theater.

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Showalter, English. "Writing off the Stage: Women Authors and Eighteenth-Century Theater." Yale French Studies, no. 75 (1988): 95. http://dx.doi.org/10.2307/2930309.

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Huízar, Angélica J., Catherine Larson, and Margo Milleret. "Games and Play in the Theater of Spanish American Women." Hispania 88, no. 3 (September 1, 2005): 500. http://dx.doi.org/10.2307/20063140.

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Cole, Catherine M. "Imagining Medea: Rhodessa Jones and Theater for Incarcerated Women (review)." Theatre Journal 56, no. 4 (2004): 725–26. http://dx.doi.org/10.1353/tj.2004.0157.

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JUNG, Youmi. "Women and Theater: Recent Studies in Early Modern English Drama." In/Outside: English Studies in Korea, no. 50 (May 2021): 153–75. http://dx.doi.org/10.46645/inoutsesk.50.5.

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Heard, Emma, Allyson Mutch, and Lisa Fitzgerald. "Using Applied Theater in Primary, Secondary, and Tertiary Prevention of Intimate Partner Violence: A Systematic Review." Trauma, Violence, & Abuse 21, no. 1 (December 28, 2017): 138–56. http://dx.doi.org/10.1177/1524838017750157.

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There is an immediate need to advance knowledge around the effective prevention of intimate partner violence (IPV), which is responsible for significant negative health and well-being outcomes for women around the world. Creative approaches are being explored internationally—this systematic review provides a timely synthesis of applied theater interventions addressing primary, secondary, and tertiary IPV prevention. Six hundred and ten articles were identified through a comprehensive search of five cross-disciplinary databases. Eleven studies discussed in 15 quantitative and qualitative peer-reviewed articles and one book chapter met the inclusion criteria and were included in the review. Articles were appraised using a standardized quality assessment tool and were analyzed within the context of IPV prevention. Of the reviewed studies, five were classified as primary prevention, four secondary, and two focused on tertiary prevention. Specific strategies used by each of the studies included healthy relationship training, rising awareness and community advocacy, service provider training, bystander training, and working with survivors. While the paucity and quality of current literature make it difficult to determine overall efficacy, this review points to the potential of applied theater as a useful prevention strategy, particularly when interactive, participatory methods are incorporated. Further, applied theater could be an effective tool for working in culturally diverse settings as well as with minority groups. Future applied theater program planning needs to include comprehensive evaluation. More rigorous investigation, involving mixed-method research approaches, is required to fully understand the potential of applied theater as a tool in the context of IPV prevention.

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Tylus, Jane. "Theater and its Social Uses: Machiavellis Mandragola and the Spectacle of Infamy*." Renaissance Quarterly 53, no. 3 (2000): 656–86. http://dx.doi.org/10.2307/2901493.

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Long seen as a play that celebrates the new-found freedom of its female protagonist, Mandragola may in fact question the very possibility of theatrical "liberation. "Drawing on the foundational myth central to Renaissance thinking about theater, the abduction of the Sabine women, this essay shows how Machiavelli endeavored to make his play a discomfitting experience for characters and audience alike. This conception of comedy as social trap both challenged humanistic notions of the ideal relationship between theater and the city, and accentuated the surveillant norms inherent in humanists'understanding of the role of the stage in society.

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Larson, Catherine, and Yolanda Flores. "The Drama of Gender: Feminist Theater by Women of the Americas." Hispania 87, no. 1 (March 1, 2004): 81. http://dx.doi.org/10.2307/20062988.

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38

Weber, Alison. "The Perception of Women in Spanish Theater of the Golden Age." Bulletin of the Comediantes 45, no. 1 (1993): 155–57. http://dx.doi.org/10.1353/boc.1993.0003.

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Ayán, Carmen Sanz. "More Than Faded Beauties: Women Theater Managers of Early Modern Spain." Early Modern Women 10, no. 1 (2015): 114–21. http://dx.doi.org/10.1353/emw.2015.0025.

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Billone, Nina. "Performing Civil Death: The Medea Project and Theater for Incarcerated Women." Text and Performance Quarterly 29, no. 3 (July 2009): 260–75. http://dx.doi.org/10.1080/10462930903017224.

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Jiang, Jin. "The Butterfly Dream—Narrating Women, Sex, and Morality in Chinese Theater." Chinese Historical Review 16, no. 2 (January 2009): 125–46. http://dx.doi.org/10.1179/tcr.2009.16.2.125.

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Yu, Shiao-ling. "Gender and Theater: Changing Images of Women on the Chinese Stage." Chinese Literature Today 1, no. 1 (September 2010): 47–54. http://dx.doi.org/10.1080/21514399.2010.11833911.

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Kruger, L. "So What's New? Women and Theater in the "New South Africa"." Theater 25, no. 3 (December 1, 1995): 46–54. http://dx.doi.org/10.1215/01610775-25-3-46.

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Stoll (book editor), Anita K., Dawn L. Smith (book editor), and Victoria O'Malley (review author). "The Perception of Women in Spanish Theater of the Golden Age." Renaissance and Reformation 28, no. 4 (January 24, 2009): 73–75. http://dx.doi.org/10.33137/rr.v28i4.11682.

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Ritchie, Fiona. "Archival Relations: Women and Regional Theater in the Kathleen Barker Archive." Tulsa Studies in Women's Literature 40, no. 1 (2021): 131–36. http://dx.doi.org/10.1353/tsw.2021.0012.

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46

Henson, Karen. "Verdi versus Victor Maurel on Falstaff: Twelve New Verdi Letters and Other Operatic and Musical Theater Sources." 19th-Century Music 31, no. 2 (November 1, 2007): 113–30. http://dx.doi.org/10.1525/ncm.2007.31.2.113.

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This article introduces twelve new Verdi letters and other operatic and musical theater sources in the Yale Collection of Historical Sound Recordings. The materials hail from the French baritone Victor Maurel (1848-1923), Verdi's first Iago and first Falstaff, and from his second wife, the musical theater librettist and screenwriter Frederique Rosine de Gresac (1866/7-1943). The letters and other sources constitute an important resource for not only nineteenth-century opera and operatic performance but also the early American musical, film studies, the history of women, even the history of celebrity. The Verdi letters concern Maurel's creation of the role of Falstaff and include a intriguing debate about preparing for the role and singing generally.

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Klens-Bigman, Deborah. "Las mujeres guerreras del teatro kabuki y el legado de las artes marciales femeninas de Japón." Revista de Artes Marciales Asiáticas 5, no. 2 (July 12, 2012): 139. http://dx.doi.org/10.18002/rama.v5i2.116.

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<p class="AMresumen">The fighting woman character has been a staple of Japan’s kabuki theater almost since its inception. Audiences accepted these characters, especially fighting women of the samurai class, as part of the depiction of Edo period (1603–1868) life. This paper explores several of these characters and suggests that they help form the legacy of women’s practice of martial arts today.</p>

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Sick, David H. "Ummidia Quadratilla: Cagey Businesswoman or Lazy Pantomime Watcher?" Classical Antiquity 18, no. 2 (October 1, 1999): 330–48. http://dx.doi.org/10.2307/25011104.

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In letter 7.24 Pliny provides his readers with a character sketch of the elderly matriarch of a distinguished and wealthy Italian family-Ummidia Quadratilla. Ummidia passed her later years as a fan of the theater; specifically, "she had pantomimes." Pliny disapproves of the shows presented by these performers, and he chastises Ummidia for her interest in pantomime. In fact he views her conduct as symptomatic of a vice among women in general: "I have heard that she herself used to relax her mind with checkers or watch her pantomimes, as women do in the idleness of their sex." We should not be surprised by these comments; there was a tradition of ambivalence among the Romans toward the professions of the theater, and when women became involved with these professions, the ambivalence could turn to contempt. Given the general disposition of Roman males toward pantomime and women, modern readers should not so readily accept Pliny's assessment. By training her slaves as pantomimes, Ummidia was greatly increasing their value. From numerous ancient sources we know that the monetary value of slaves trained in the theatrical professions was among the highest accorded any slave. Moreover, because of Ummidia's endowment of a theater in her native Casinum and the performance of Ummidia's pantomimes in public games, we might say that she was the manager of a small "theatrical empire." Finally, because of the great interest in pantomime on the part of the masses and the desire of the upper classes, including members of various imperial families, to soothe these masses with games, control of popular pantomimes might have given Ummidia access to limited political power.

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Silva dos Santos, Ivaneide, and Laiane Oliveira dos Santos. "INTERAÇÕES ENTRE TEATRO E GEOGRAFIA NA PRÁTICA DA EDUCAÇÃO GEOGRÁFICA." Revista Brasileira de Educação em Geografia 10, no. 20 (December 31, 2020): 475–97. http://dx.doi.org/10.46789/edugeo.v10i20.762.

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O artigo discute a contribuição do teatro para a prática da educação geográfica em diversos contextos sociais, por considerar que a linguagem teatral interage com a Geografia, sendo importante para a leitura e compreensão da realidade em suas múltiplas dimensões, auxiliando-nos a percebermos nosso papel na construção e transformação do mundo. O texto resulta de uma pesquisa de graduação realizada no curso de licenciatura em Geografia da Universidade do Estado da Bahia, Campus IV, Jacobina, que objetivou analisar as contribuições do teatro para a apreensão de temas emergentes da Geografia, tendo como lócus de investigação o grupo de teatro Artefato, de uma cidade do interior da Bahia. A metodologia da pesquisa foi qualitativa de caráter exploratório. Também foi feita pesquisa bibliográfica, observação in loco, entrevistas, grupos focais compostos por homens, mulheres e jovens, bem com análise documental, por meio de fotografias do referido grupo de teatro. Os resultados da pesquisa nos revelam que o teatro, ao discutir temas geográficos por meio de sua ludicidade nos espetáculos, contribui para a leitura geográfica da realidade e proporciona a prática da educação geográfica, com o desenvolvimento do raciocínio e pensamento espacial, assim como a formação cidadã. PALAVRAS-CHAVE Teatro, Educação, Geografia, Conhecimento, Linguagens. INTERACTIONS BETWEEN THEATER AND GEOGRAPHY IN THE PRACTICE OF GEOGRAPHIC EDUCATION ABSTRACT The article discusses the contribution of theater to the practice of geographic education in different social contexts, considering that theatrical language interacts with Geography, being important for reading and understanding reality in its multiple dimensions, helping us to perceive our role in the construction and transformation of the world. The text is the result of an undergraduate research carried out in the degree course in Geography at the Universidade do Estado da Bahia, Campus IV, Jacobina, which aimed to analyze the contributions of the theater to the apprehension of emerging themes in Geography, having as a locus of investigation the group of theater Artifact, of a city in the interior of Bahia. The research methodology was qualitative and exploratory. Bibliographic research, on-site observation, interviews, focus groups composed of men, women and young people were also carried out, as well as documentary analysis, using photographs of the aforementioned theater group. The results of the research reveal that the theater, when discussing geographic themes through its playfulness in the shows, contributes to the geographic reading of reality and provides the practice of geographic education, with the development of spatial reasoning and thinking, as well as citizen formation. KEYWORDS Theater, Education, Geography, Knowledge, Languages.

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Callens, Johan. "Van "Angry Young Men" tot "Angry Women": Brits theater en politiek engagement." Documenta 15, no. 4 (May 26, 2019): 221–40. http://dx.doi.org/10.21825/doc.v15i4.11165.

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Journal articles on the topic 'Women Theater Theater'

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