By Carol Martin
This paintings is a different choice of key articles on feminist theatre and function shape The Drama overview (TDR). Carol Martin juxtaposes concept and perform to supply a really accomplished evaluation of the improvement of feminist theatre. This impressive assortment contains key texts through theorists resembling Elin Diamond, Peggy Phelan and Lynda Hart and interviews with practitioners together with Anna Deveare Smith and Robbie McCauley. It additionally includes complete performances texts by means of of the main influential and arguable practiitioners of feminist theatre: Dress fits to Hire by way of Holly Hughes and The consistent nation of Desire by way of Karen Finley. A Sourcebook on Feminist Theatre and Performance is a vital buy for college students of theatre stories, functionality reports and women's theatre.
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Additional info for A Sourcebook on Feminist Theatre and Performance: On and Beyond the Stage
Example text
16. 17. 18. 19. 20. 21. , Making a Spectacle: Feminist Essays on Contemporary Women’s Theatre, Ann Arbor: University of Michigan Press, 1989, 282– 299, in which she argues that camp does in fact provide a liberatory stance for the butch-femme lesbian subject. John Fuegi’s new book, Brecht and Company: Sex, Politics, and the Making of Modern Drama, New York: Grove Press, 1994, although much maligned; argues that Brecht might not have written all the work attributed to him, and that the women in his orbit in fact did much of the writing and labor, without being properly credited or appreciated.
Her contemporary, Mary Shaw, equally idealistic, was impelled by the possibility of using the stage for a feminist vision. “Women exert a tremendous and virtually irresistible influence over the stage,” she insisted. ” With Jessie Bonstelle, actress and director-manager 25 26 HELEN KRICH CHINOY of important stock companies, Mary Shaw projected a Woman’s National Theatre devoted to communicating “distinctive feminine feeling or opinions,” one of several such theatres planned in the early years of the 20th century.
The roots were regional. ” The accomplishments were national. ” 2 WOMEN FOR WOMEN Charlotte Rea Women’s theatre groups are seeking new forms—forms that have not been derived from the male-oriented and male-dominated theatre that now exists. A search for new content also characterizes these groups, but their most important aspect is their relationship with their audiences. The theatre done by these groups is aimed at a specialized audience and often is performed exclusively for that audience—women.