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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... actors have always known that theater can question its own repre- sentational strategies , calling attention to and undermining the very ideologies it may also promote . How it does this is central to Alisa Solomon's canny readings of ...
... actors have always known that theater can question its own repre- sentational strategies , calling attention to and undermining the very ideologies it may also promote . How it does this is central to Alisa Solomon's canny readings of ...
Seite 3
... acting . Of course this imagery has its limits : unlike the actor , we never get to make an exit , shedding our gender roles as we walk off the stage . Moreover , gender is not an indi- vidual accomplishment , but a social enactment ...
... acting . Of course this imagery has its limits : unlike the actor , we never get to make an exit , shedding our gender roles as we walk off the stage . Moreover , gender is not an indi- vidual accomplishment , but a social enactment ...
Seite 6
... actor in the mask and androgynous costume of Agathon . In theater , especially in comedy , representation requires irony . Imitation is funny only if we recognize its inadequacy - and the exag- geration with which it attempts to ...
... actor in the mask and androgynous costume of Agathon . In theater , especially in comedy , representation requires irony . Imitation is funny only if we recognize its inadequacy - and the exag- geration with which it attempts to ...
Seite 7
... actor ) - and from the chorus of women at the Thesmophoria festival , played , of course , by men . The three types of figures - the man , reluctantly dressed as a woman before our eyes ; the androgynous male ; the male actor playing ...
... actor ) - and from the chorus of women at the Thesmophoria festival , played , of course , by men . The three types of figures - the man , reluctantly dressed as a woman before our eyes ; the androgynous male ; the male actor playing ...
Seite 8
... actors : what joy , what gaiety our phallus brings , how it binds us , male per- formers and male audience , in the gleeful power of possessing one.22 Perhaps . But at the same time Aristophanes makes the phallus an object of ridicule ...
... actors : what joy , what gaiety our phallus brings , how it binds us , male per- formers and male audience , in the gleeful power of possessing one.22 Perhaps . But at the same time Aristophanes makes the phallus an object of ridicule ...
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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.