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 15
... hand , the critically conscious spectator may deliberately oppose the instructions . In both cases , the representation of gender is a likely factor . In New York in 1993 , I actually witnessed a case of the old saw about the man ...
... hand , the critically conscious spectator may deliberately oppose the instructions . In both cases , the representation of gender is a likely factor . In New York in 1993 , I actually witnessed a case of the old saw about the man ...
Seite 16
... hand , the spectator consciously rejects the terms of a performance . Rather than being pre- vented by ideology from adopting the aesthetic attitude , she recognizes - and takes issue with - the ideological implications of the aesthetic ...
... hand , the spectator consciously rejects the terms of a performance . Rather than being pre- vented by ideology from adopting the aesthetic attitude , she recognizes - and takes issue with - the ideological implications of the aesthetic ...
Seite 20
... hand creep onto her thigh . She squirmed a bit , but the man did not relent . Feeling more and more uncomfortable as ... HANDS OFF THAT WOMAN ! ' " Shakespeare's cross - dressed boy - actresses and the non 20 Introduction.
... hand creep onto her thigh . She squirmed a bit , but the man did not relent . Feeling more and more uncomfortable as ... HANDS OFF THAT WOMAN ! ' " Shakespeare's cross - dressed boy - actresses and the non 20 Introduction.
Seite 23
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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.