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 13
... turn , been influenced by it . Yet ( like some experimental film ) theater contains , and frequently employs , the means to disrupt the uniocularism it might simultaneously encourage . How , for instance , can the male gaze be ...
... turn , been influenced by it . Yet ( like some experimental film ) theater contains , and frequently employs , the means to disrupt the uniocularism it might simultaneously encourage . How , for instance , can the male gaze be ...
Seite 14
... turns the " work of art " into the " aesthetic object . " He writes , " What the artist has created is not yet completely the aesthetic object but only the means for that object to exist whenever the sensuous is recognized as such by ...
... turns the " work of art " into the " aesthetic object . " He writes , " What the artist has created is not yet completely the aesthetic object but only the means for that object to exist whenever the sensuous is recognized as such by ...
Seite 18
... turn first to three canonical playwrights to look at the self - con- sciousness of their theatrical styles and ask whether their own stagings of gender performance may disrupt these naturalized categories of identity . ( Other ...
... turn first to three canonical playwrights to look at the self - con- sciousness of their theatrical styles and ask whether their own stagings of gender performance may disrupt these naturalized categories of identity . ( Other ...
Seite 19
... turn - of - the - century Yiddish theater and other instances of Jewish performance . It asks : if some canonical plays can , through their ques- tioning of theater's representational strategies , raise questions about social ...
... turn - of - the - century Yiddish theater and other instances of Jewish performance . It asks : if some canonical plays can , through their ques- tioning of theater's representational strategies , raise questions about social ...
Seite 33
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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.