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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Seite 1
... fact , the play's prologue , according to the Greek scholar Froma Zeitlin , contains the first tech- nical use of the term mimesis.2 The term comes up when Agathon the poet , dressed in a flowing gown , defends his outfit to the ...
... fact , the play's prologue , according to the Greek scholar Froma Zeitlin , contains the first tech- nical use of the term mimesis.2 The term comes up when Agathon the poet , dressed in a flowing gown , defends his outfit to the ...
Seite 5
... fact of theater part of its subject , and the real - life , theater - like conventions of gender roles . In such works , theater and gender take shape as critical images of one another , as mimetic - though not identical - twins ...
... fact of theater part of its subject , and the real - life , theater - like conventions of gender roles . In such works , theater and gender take shape as critical images of one another , as mimetic - though not identical - twins ...
Seite 12
... fact that the spectator is watching moving images rather than either static ones ( painting ) or live actors ( theatre ) , all help to make the cinematic experience closer to the dream state than is possible in the other arts , 38 ...
... fact that the spectator is watching moving images rather than either static ones ( painting ) or live actors ( theatre ) , all help to make the cinematic experience closer to the dream state than is possible in the other arts , 38 ...
Seite 13
... fact ? Or in the epic theater , where the actor seeks to draw attention to the very distinction between herself and her character which , if she were in a play by , say , Marsha Norman , she would seek to overcome ? Do such plays ...
... fact ? Or in the epic theater , where the actor seeks to draw attention to the very distinction between herself and her character which , if she were in a play by , say , Marsha Norman , she would seek to overcome ? Do such plays ...
Seite 17
... fact , allow us to see this leaf green - or purple or blue as the case may be . In theater , especially , where everything is a sign and reality is always contingent , the imperative to " imagine this " can be subjected to further self ...
... fact , allow us to see this leaf green - or purple or blue as the case may be . In theater , especially , where everything is a sign and reality is always contingent , the imperative to " imagine this " can be subjected to further self ...
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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.