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. |
Im Buch
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Seite 1
... its satirical treatment of Euripidean tragedy and its sartorial travesties on the rep- resentation of women , Thesmophoriazusae points to , and mocks , theatrical process - the mimetic itself . In fact , the play's prologue , according ...
... its satirical treatment of Euripidean tragedy and its sartorial travesties on the rep- resentation of women , Thesmophoriazusae points to , and mocks , theatrical process - the mimetic itself . In fact , the play's prologue , according ...
Seite 2
... its own representational strategies , theater can also undermine those power structures . How that might happen is the central question posed in this book . One clue comes from the art theorist Michael Fried , who disparages theater as ...
... its own representational strategies , theater can also undermine those power structures . How that might happen is the central question posed in this book . One clue comes from the art theorist Michael Fried , who disparages theater as ...
Seite 3
... its own processes and limits , and , as a result , raise questions about the images and ideologies it may give stage and voice to . It can self - reflex- ively consider its own embeddedness in cultural institutions and historical ...
... its own processes and limits , and , as a result , raise questions about the images and ideologies it may give stage and voice to . It can self - reflex- ively consider its own embeddedness in cultural institutions and historical ...
Seite 5
... its performance conventions and makes the fact of theater part of its subject , and the real - life , theater - like ... it's so clear that Agathon is not merely putting on femininity for creative inspiration ; the reason he can't help ...
... its performance conventions and makes the fact of theater part of its subject , and the real - life , theater - like ... it's so clear that Agathon is not merely putting on femininity for creative inspiration ; the reason he can't help ...
Seite 6
... its inadequacy - and the exag- geration with which it attempts to compensate . In juxtaposing different degrees of ... it's through the on - stage creation and dissolution of female dis- guise that Aristophanes theatrically unwraps ...
... its inadequacy - and the exag- geration with which it attempts to compensate . In juxtaposing different degrees of ... it's through the on - stage creation and dissolution of female dis- guise that Aristophanes theatrically unwraps ...
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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.