Re-Dressing the Canon: Essays on Theatre and GenderRoutledge, 02.09.2003 - 224 Seiten Re-Dressing the Canon examines the relationship between gender and performance in a series of essays which combine the critique of specific live performances with an astute theoretical analysis. Alisa Solomon discusses both canonical texts and contemporary productions in a lively jargon-free style. Among the dramatic texts considered are those of Aristophanes, Ibsen, Yiddish theatre, Mabou Mines, Deborah Warner, Shakespeare, Brecht, Split Britches, Ridiculous Theatre, and Tony Kushner. Bringing to bear theories of 'gender performativity' upon theatrical events, the author explores: * the 'double disguise' of cross-dressed boy-actresses * how gender relates to genre (particularly in Ibsens' realism) * how canonical theatre represented gender in ways which maintain traditional images of masculinity and femininity. |
Im Buch
Ergebnisse 1-5 von 47
Seite ix
... about whether it manages to interest spectators in buying tickets—i.e. in the theater itself —but about whether it manages to interest them in the world. Bertolt Brecht x Introduction How easy is a bush suppos'd a bear.
... about whether it manages to interest spectators in buying tickets—i.e. in the theater itself —but about whether it manages to interest them in the world. Bertolt Brecht x Introduction How easy is a bush suppos'd a bear.
Seite 8
... Brecht's term, makes strange or alienates—that is, offers for critical regard. So, though as a feminist, I certainly recognize the misogyny within the Western dramatic tradition and resent women's frequent exclusion from that tradition ...
... Brecht's term, makes strange or alienates—that is, offers for critical regard. So, though as a feminist, I certainly recognize the misogyny within the Western dramatic tradition and resent women's frequent exclusion from that tradition ...
Seite 15
... Brecht's parallel phrase, to think “above the stream.”45 Thinking against the grain or above the stream is endemic to theater precisely because theater depends on a kind of double vision. We see two things at once— the actor and the ...
... Brecht's parallel phrase, to think “above the stream.”45 Thinking against the grain or above the stream is endemic to theater precisely because theater depends on a kind of double vision. We see two things at once— the actor and the ...
Seite 17
... Brecht's Good Person of Szechwan, to suggest that gender—especially in this play with a crossdressed hero—is one of the social conventions made strange by epic style. I begin with these dramas not in spite of their classical status, but ...
... Brecht's Good Person of Szechwan, to suggest that gender—especially in this play with a crossdressed hero—is one of the social conventions made strange by epic style. I begin with these dramas not in spite of their classical status, but ...
Seite 18
... Brecht expected epic theater to dismantle capitalism. But I do think that Brecht was right about theater's capacity to teach us a way to see critically, and to apply that critical consciousness to the world. The all-important question ...
... Brecht expected epic theater to dismantle capitalism. But I do think that Brecht was right about theater's capacity to teach us a way to see critically, and to apply that critical consciousness to the world. The all-important question ...
Inhalt
1 | |
Shakespeares crossdressed boyactresses
and the nonillusory stage | 21 |
reconstructing
Ibsens realism | 45 |
The Good Person of Szechwan and making gender strange | 67 |
Azoi toot a Yid | 91 |
5 Three canonical crossings | 125 |
not just a passing fancy notes on butch | 159 |
Notes | 173 |
Index | 197 |
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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 canonical character Charles Ludlam comedy contemporary conventions costume course critique cross-dressed culture disguise Doll House dramatic dress epic acting epic theater essay 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 Mel Shapiro men’s mimesis modern mother Nora Nora’s offers performance play play’s political postmodern presented production queer question quoted realism representation reveals Rivkele role Rosalind Rosenthal Routledge scene self-conscious sexual Shakespeare Shaw Shen Teh shtetl Shui social song spectator Split Britches stage directions Stanley stereotypes suggests Teh’s Tesman theatrical there’s Thesmophoriazusae Torvald traditional transvestism University Press well-made well-made play Western What’s woman women Yankl Yiddish theater York