A Sourcebook on Feminist Theatre and Performance: On and by Carol Martin

By Carol Martin

This paintings is a special selection of key articles on feminist theatre and function shape The Drama overview (TDR). Carol Martin juxtaposes idea and perform to supply an incredibly accomplished review of the advance of feminist theatre. This amazing assortment contains key texts by means of theorists equivalent to 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 way of of the main influential and arguable practiitioners of feminist theatre: Dress fits to Hire through Holly Hughes and The consistent kingdom of Desire by means of Karen Finley. A Sourcebook on Feminist Theatre and Performance is a necessary buy for college kids of theatre experiences, functionality reviews and women's theatre.

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A Sourcebook on Feminist Theatre and Performance: On and Beyond the Stage

This paintings is a different choice of key articles on feminist theatre and function shape The Drama assessment (TDR). Carol Martin juxtaposes concept and perform to supply an incredibly finished review of the advance of feminist theatre. This notable assortment comprises key texts through theorists comparable to Elin Diamond, Peggy Phelan and Lynda Hart and interviews with practitioners together with Anna Deveare Smith and Robbie McCauley.

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Extra resources for A Sourcebook on Feminist Theatre and Performance: On and Beyond the Stage

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The shift in emphasis from collective or literary-based performance to solo performance and/or performance art (although these terms have different histories) might be explained in several ways. First, it is often financially more feasible and logistically more practical to work alone than it is to work collectively. But second, performance art tends to reject more modernist (perhaps utopic) notions of community on which the experimental collectives of the 1960s and 1970s were modeled. The theoretical articles in the anthology insist again and again on the problems and pleasures of representing the female body, as well as the configuration of desire as a motivating force in the exchange of performed meanings.

In the process of documenting the belligerent discussion that ensued when the piece was performed at the University of Michigan, in which some feminists felt the work was coopted by its move to a mixed, institutionalized audience site, 20 Davy addresses the historical performativity of butch/femme identities, well before Judith Butler “popularized” this critical notion. In Davy’s reading, social identities are strategies of performance that can be useful, material sites of subversion and study.

Especially since the turn of the 20th century, women have made their way into all the specialized positions in theatre, where they can be found if you have a mind to look for them and some sense of where they are most likely to be located. For although many women have made their mark in theatre, it hasn’t been easy for them to do so on Broadway or in the mainstream of theatre. In show business as in other businesses and professions, women have not easily or regularly come into positions of importance or power in the major institutions.

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