Download e-book for iPad: Contemporary Feminist Theatres: To Each Her Own (Gender and by Lizbeth Goodman

By Lizbeth Goodman

ISBN-10: 0203359518

ISBN-13: 9780203359518

ISBN-10: 0203376277

ISBN-13: 9780203376270

ISBN-10: 0415073065

ISBN-13: 9780415073066

Modern Feminist Theatres is an incredible evaluate of the varieties feminism has taken within the theatre considering that 1968. Lizbeth Goodman offers a provocative and interdisciplinary learn of the improvement of feminist theatres in Britain. She examines the remedy of key matters akin to gender, race, sexuality, language and gear in functionality. in line with unique examine and clean info, modern Feminst Theatres is a completely complete and admirably transparent research of a flourishing box of perform and inquiry.

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By Lizbeth Goodman

ISBN-10: 0203359518

ISBN-13: 9780203359518

ISBN-10: 0203376277

ISBN-13: 9780203376270

ISBN-10: 0415073065

ISBN-13: 9780415073066

Modern Feminist Theatres is an incredible evaluate of the varieties feminism has taken within the theatre considering that 1968. Lizbeth Goodman offers a provocative and interdisciplinary learn of the improvement of feminist theatres in Britain. She examines the remedy of key matters akin to gender, race, sexuality, language and gear in functionality. in line with unique examine and clean info, modern Feminst Theatres is a completely complete and admirably transparent research of a flourishing box of perform and inquiry.

Show description

Read Online or Download Contemporary Feminist Theatres: To Each Her Own (Gender and Performance) PDF

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Extra resources for Contemporary Feminist Theatres: To Each Her Own (Gender and Performance)

Example text

Quite apart from a study of the power of such dynamics as ‘false universals’ in a mainstream context is the question of their place within a specifically feminist discourse. 12 Feminist criticism has analysed and argued for several different kinds of feminism, some of which have dangerously conflated the terms ‘femaleness’ and ‘femininity’. Yet agreement about the meanings of such terms, and indeed of the term ‘feminism’, would not solve the practical problem of situating specific ‘brands’ of feminism within the larger movement.

As individuals with multiple perspectives, everyone can be defined according to multiple ‘identity politics’ of some kind. Those multiple perspectives need not be seen in any essentialist way, but can rather be viewed as resulting from—or at least influenced by—the experience of living in society, and of interacting with cultural biases of all kinds and with other individuals who can also be identified according to factors such as gender, race, class, sexuality, and age. These multiple identities will tend to influence each individual’s ways of seeing plays.

If the emphasis on change is prioritized, the internal conflicts need not subsume the changeoriented goals of feminist theatre. 30 Attaching the feminist label to women’s work in the theatre is complicated, due not only to the shifting definition of the term, but also to the shifting priorities and concerns of individual practitioners at different stages of their lives and careers. For instance, some of the second-generation feminists who founded theatre groups in the early 1970s have been neglected by mainstream theatres.

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Contemporary Feminist Theatres: To Each Her Own (Gender and Performance) by Lizbeth Goodman


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