Re-dressing the Canon: Essays on Theater and GenderTaylor & Francis, 1997 - 208 pagina's From Aristophanes to Split Britches, gender and performance have been inextricably linked to the stage. In a wide-ranging series of essays Re-Dressing the Canon examines the relationship and posits ways in which the self-referential conventions of theatre can reveal the performative element of gender. Analysing both canonical texts and contemporary productions in a lively, jargon-free prose style, Re-Dressing the Canon finds feminist fissures within the performance conventions of patriarchal drama. Among the dramatic texts considered are those of: Aristophanes Ibsen Yiddish theatre Mabou Mines Deborah Warner Shakespeare Brecht Ridiculous Theatre Split Britches Tony Kushner. Alisa Solomon moves beyond psychoanalytic approaches that have dominated feminist theatre criticism of the last decade, offering a new technique for investigating the relationship between theatre and gender. Re-Dressing the Canon bridges the boundary between theory and practice to make for a highly stimulating volume for theorists, students, contemporary performance-goers and practitioners alike. |
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Pagina 3
... suggests that it is not an immutable or inevitable biological function . More important , the comparison reminds us of the spectator's role , providing a framework for recognizing our complicity in the social conventions that sustain a ...
... suggests that it is not an immutable or inevitable biological function . More important , the comparison reminds us of the spectator's role , providing a framework for recognizing our complicity in the social conventions that sustain a ...
Pagina 7
... suggesting that femininity does not require a woman's body , the play denaturalizes gender . Mnesilochus's Dionysiac transformation is downright campy , espe- cially as he is first established as a grisly stock figure , full of bawdy ...
... suggesting that femininity does not require a woman's body , the play denaturalizes gender . Mnesilochus's Dionysiac transformation is downright campy , espe- cially as he is first established as a grisly stock figure , full of bawdy ...
Pagina 8
... suggests , as two kinds of " imitation with a difference . " 23 For not only does the play present several mutually derisive versions of men playing women , it also dramatizes a series of spoofs of Euripidean drama . After the chorus of ...
... suggests , as two kinds of " imitation with a difference . " 23 For not only does the play present several mutually derisive versions of men playing women , it also dramatizes a series of spoofs of Euripidean drama . After the chorus of ...
Pagina 9
... suggest a sort of guilty acknowledgement of the culture's relentless misogyny.26 Theater , like other cultural creations , certainly participates in con- structing gender . As Teresa de Lauretis has written in a widely influential essay ...
... suggest a sort of guilty acknowledgement of the culture's relentless misogyny.26 Theater , like other cultural creations , certainly participates in con- structing gender . As Teresa de Lauretis has written in a widely influential essay ...
Pagina 18
... suggest that Ibsen frequently points to the devices of this dramatic style in A Doll House and Hedda Gabler , linking that system of representation to the artificiality of women's roles . Finally in this section , I reread Brecht's Good ...
... suggest that Ibsen frequently points to the devices of this dramatic style in A Doll House and Hedda Gabler , linking that system of representation to the artificiality of women's roles . Finally in this section , I reread Brecht's Good ...
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action actor aesthetic American Ibsen Aristophanes Asch audience Belle Reprieve Bernhardt Blanche Bloolips boy-actress Brecht Breuer Brian Johnston butch calls canon character comedy contemporary conventions costume course critique cross-dressed culture disguise Doll House drama dress Ellen McElduff epic acting epic theater essay Euripides femininity Feminism feminist feminist critics feminist theater film freeloaders Ganymede gender girl hair Hamlet Hedda Gabler identity imagine Jewish Jews King Lear Lear's lesbian London Lovborg Ludlam Mabou Mines male Manke masculinity metaphor mimesis modern mother Nora Nora's offers performance play play's political postmodern production queer question realism representation reveals Rivkele role Rosalind Rosenthal Routledge Sarah Bernhardt scene self-conscious sexual Shakespeare Shen Teh shtetl Shui social song spectator Split Britches stage directions Stanley stereotypes style suggests Teh's Tesman theatrical there's Thesmophoriazusae thing tion Torvald traditional transvestism University Press well-made well-made play Western woman women Yankl Yiddish theater York
Populaire passages
Pagina 3 - In the first instance, performativity must be understood not as a singular or deliberate "act," but, rather, as the reiterative and citational practice by which discourse produces the effects that it names.