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
Seite 4
... least what can happen - to gender when it is framed within and compared to the formal conventions of theater . How are spectators engaged in a play , I ask , and how does that engagement reinforce gender regulation , or disrupt it , and ...
... least what can happen - to gender when it is framed within and compared to the formal conventions of theater . How are spectators engaged in a play , I ask , and how does that engagement reinforce gender regulation , or disrupt it , and ...
Seite 10
... least " realistic " images of women . ( This view unwittingly lines up with a centuries - old tradition of assigning theater the task of moral instruc- tion , and then linking its pedagogical success to verisimilitude . ) After all ...
... least " realistic " images of women . ( This view unwittingly lines up with a centuries - old tradition of assigning theater the task of moral instruc- tion , and then linking its pedagogical success to verisimilitude . ) After all ...
Seite 12
... to the dream state than is possible in the other arts , 38 Obviously , the theater - again , the non - naturalistic theater least of all neither induces a dream state nor controls the spectator's gaze 12 Introduction.
... to the dream state than is possible in the other arts , 38 Obviously , the theater - again , the non - naturalistic theater least of all neither induces a dream state nor controls the spectator's gaze 12 Introduction.
Seite 13
... least entirely , through unbroken identification with a male protagonist . Never mind that blocking , costume , and lighting can be deployed to opposite effects . Even within the conventions of her example , the spectator's gaze is far ...
... least entirely , through unbroken identification with a male protagonist . Never mind that blocking , costume , and lighting can be deployed to opposite effects . Even within the conventions of her example , the spectator's gaze is far ...
Seite 15
... least a case like it . The oft - told Desdemona story , even if apocryphal , reveals how social attitudes about race and gender inhibit a white man from sus- taining an aesthetic attitude . At a women's bodybuilding show called The Most ...
... least a case like it . The oft - told Desdemona story , even if apocryphal , reveals how social attitudes about race and gender inhibit a white man from sus- taining an aesthetic attitude . At a women's bodybuilding show called The Most ...
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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.