Re-dressing the Canon: Essays on Theater and GenderTaylor & Francis, 1997 - 208 Seiten 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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... about whether it manages to interest spectators in buying tickets - i.e. in the theater itself - but about whether it manages to interest them in the world . Bertolt Brecht Introduction How easy is a bush suppos'd a bear THE.
... about whether it manages to interest spectators in buying tickets - i.e. in the theater itself - but about whether it manages to interest them in the world . Bertolt Brecht Introduction How easy is a bush suppos'd a bear THE.
Seite 9
... Brecht's term , makes strange or alienates - that is , offers for critical regard . So , though as a feminist , I certainly rec- ognize the misogyny within the Western dramatic tradition and resent women's frequent exclusion from that ...
... Brecht's term , makes strange or alienates - that is , offers for critical regard . So , though as a feminist , I certainly rec- ognize the misogyny within the Western dramatic tradition and resent women's frequent exclusion from that ...
Seite 16
... Brecht's parallel phrase , to think " above the stream . " 45 Thinking against the grain or above the stream is endemic to theater precisely because theater depends on a kind of double vision . We see two things at once- the actor and ...
... Brecht's parallel phrase , to think " above the stream . " 45 Thinking against the grain or above the stream is endemic to theater precisely because theater depends on a kind of double vision . We see two things at once- the actor and ...
Seite 18
... Brecht's Good Person of Szechwan , to suggest that gender - especially in this play with a cross- dressed hero is one of the social conventions made strange by epic style . I begin with these dramas not in spite of their classical ...
... Brecht's Good Person of Szechwan , to suggest that gender - especially in this play with a cross- dressed hero is one of the social conventions made strange by epic style . I begin with these dramas not in spite of their classical ...
Seite 19
... Brecht expected epic theater to dismantle capitalism . But I do think that Brecht was right about theater's capac- ity to teach us a way to see critically , and to apply that critical consciousness to the world . The all - important ...
... Brecht expected epic theater to dismantle capitalism . But I do think that Brecht was right about theater's capac- ity to teach us a way to see critically , and to apply that critical consciousness to the world . The all - important ...
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Häufige Begriffe und Wortgruppen
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
Beliebte Passagen
Seite 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.