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 57
Seite 5
... audience as his genitals are depilated (in keeping with Athenian customs regarding feminine beauty— and for symbolic laughs, as a peek at Mnesilochus's pubis, depilated or not, would reveal his leather phallus). He is swaddled in a ...
... audience as his genitals are depilated (in keeping with Athenian customs regarding feminine beauty— and for symbolic laughs, as a peek at Mnesilochus's pubis, depilated or not, would reveal his leather phallus). He is swaddled in a ...
Seite 6
... audience. Here, the chorus denounces male disparaging of women and declares women's superiority. Referring to objects they use that are homonyms in Greek for umbrella/shield and loomrod/spear, they pun, Laura Taaffe points out, on terms ...
... audience. Here, the chorus denounces male disparaging of women and declares women's superiority. Referring to objects they use that are homonyms in Greek for umbrella/shield and loomrod/spear, they pun, Laura Taaffe points out, on terms ...
Seite 7
... audience conspire with themselves and the actors: what joy, what gaiety our phallus brings, how it binds us, male performers and male audience, in the gleeful power of possessing one.22 Perhaps. But at the same time Aristophanes makes ...
... audience conspire with themselves and the actors: what joy, what gaiety our phallus brings, how it binds us, male performers and male audience, in the gleeful power of possessing one.22 Perhaps. But at the same time Aristophanes makes ...
Seite 9
... audience, that like a frowzy woman trying to keep her slip from showing tries to sweep its conventions out of sight.29 More often, though, theater just lets it hang out. And sometimes—in the work that most interests me —theater brazenly ...
... audience, that like a frowzy woman trying to keep her slip from showing tries to sweep its conventions out of sight.29 More often, though, theater just lets it hang out. And sometimes—in the work that most interests me —theater brazenly ...
Seite 12
... audience sees her as the male protagonist sees her. The blocking of her entrance, her costume and the lighting are designed to reveal that she is the object of his desire. In this way, the audience also perceives her as an object of ...
... audience sees her as the male protagonist sees her. The blocking of her entrance, her costume and the lighting are designed to reveal that she is the object of his desire. In this way, the audience also perceives her as an object of ...
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