By Carol Martin
This paintings is a special number of key articles on feminist theatre and function shape The Drama assessment (TDR). Carol Martin juxtaposes concept and perform to supply a very complete assessment of the advance of feminist theatre. This remarkable assortment contains key texts via theorists corresponding 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 means of of the main influential and debatable practiitioners of feminist theatre: Dress fits to Hire via Holly Hughes and The consistent nation of Desire through Karen Finley. A Sourcebook on Feminist Theatre and Performance is a vital buy for college students of theatre reports, functionality stories and women's theatre.
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Additional info for A Sourcebook on Feminist Theatre and Performance: On and Beyond the Stage
Then you can shift it to a more intense situation: a man and a woman have come to the theatre—they are in the context of what one might call a date, an evening out together; they’re a closed unit. They’re also in a situation in which there may be something going on between the performer and the spectator but the potential, for example, for sexual interaction is between the couple who has come to see the play. The potential for intimacy is between those two people. Therefore nothing important can happen to the woman?
They have been restricted by the blatant prejudice against letting women have any say where big money and decision making have been involved, as well as by their socialization into a passive but emotional self-image. To the usual limits on female career aspirations—marriage, family, appropriate submissive behavior and acceptable feminine appearance— theatre has imposed further restrictions by being socially and morally suspect in puritanical, middle-class America. In a country where theatre was thought of as Satan’s haunt and actresses often equated with harlots whose “lascivious smiles, wanton glances, and indelicate attitudes” threatened the ART VERSUS BUSINESS ideal of “womanhood,” the women who worked in theatre had a difficult time.
To which Hughes replies, “I am interested in talking about sexual pleasure and what it could mean for women”. By spinning the sign system (seducing it through a strategy of appearances, as Case might argue), Hughes offers female redemption through rearticulated sexualities. I have not wanted to make an evolutionary tale out of this work, but intended to draw something of a fragmented historical circle around a feminist notion of praxis, which these collected articles, interviews, and performance pieces represent.