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 2
... identity promised by the- ater , and figured by the norm of transvestism , is precisely what makes theater the queerest art . perennially subject to railing by those with a stake in promoting the " natural order " of the status quo ...
... identity promised by the- ater , and figured by the norm of transvestism , is precisely what makes theater the queerest art . perennially subject to railing by those with a stake in promoting the " natural order " of the status quo ...
Seite 3
... identities " or " subject positions " ; the particular phrase " gender performativity " has already become a hackneyed and much misused mantra of critical writing , its meaning becoming more diffuse even as the term acquires more buzz ...
... identities " or " subject positions " ; the particular phrase " gender performativity " has already become a hackneyed and much misused mantra of critical writing , its meaning becoming more diffuse even as the term acquires more buzz ...
Seite 8
... identity , so do the Athenian ( male ) citizens of Aristophanes ' audience conspire with themselves and the actors : what joy , what gaiety our phallus brings , how it binds us , male per- formers and male audience , in the gleeful ...
... identity , so do the Athenian ( male ) citizens of Aristophanes ' audience conspire with themselves and the actors : what joy , what gaiety our phallus brings , how it binds us , male per- formers and male audience , in the gleeful ...
Seite 12
... identity after which gender fashions itself is an imitation with- out an origin . . . it is a production which postures as an imitation . " 35 It is in this sense that gender like theater - is automimetic . Both are imitations of an ...
... identity after which gender fashions itself is an imitation with- out an origin . . . it is a production which postures as an imitation . " 35 It is in this sense that gender like theater - is automimetic . Both are imitations of an ...
Seite 17
... a character in cross - dressed disguise - remind us of the dis- arming possibility that our own guarded identities , even those that feel as intimate as skin , must be aggressively and institutionally Introduction 17.
... a character in cross - dressed disguise - remind us of the dis- arming possibility that our own guarded identities , even those that feel as intimate as skin , must be aggressively and institutionally Introduction 17.
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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.