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
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... calling attention to and undermining the very ideologies it may also promote. How it does this is central to Alisa Solomon's canny readings of Western drama. Analyzing both canonical texts and contemporary productions in lively, jargon ...
... calling attention to and undermining the very ideologies it may also promote. How it does this is central to Alisa Solomon's canny readings of Western drama. Analyzing both canonical texts and contemporary productions in lively, jargon ...
Seite 1
... calls attention to) its inadequacy. (He makes it quite clear that Agathon's rendering of women isn't truthful at all.) In doing so, Aristophanes underlines Euripides' instructions in irony: like theater in general, men in women's roles ...
... calls attention to) its inadequacy. (He makes it quite clear that Agathon's rendering of women isn't truthful at all.) In doing so, Aristophanes underlines Euripides' instructions in irony: like theater in general, men in women's roles ...
Seite 2
... calls it “the art of imitation that reveals imitation”7— theater can question the very means of its production, call attention to its own processes and limits, and, as a result, raise questions about the images and ideologies it may ...
... calls it “the art of imitation that reveals imitation”7— theater can question the very means of its production, call attention to its own processes and limits, and, as a result, raise questions about the images and ideologies it may ...
Seite 3
... call gender, comparing it to role-playing, masquerade, and play-acting.8 Of course this imagery has its limits: unlike the actor, we never get to make an exit, shedding our gender roles as we walk off the stage. Moreover, gender is not ...
... call gender, comparing it to role-playing, masquerade, and play-acting.8 Of course this imagery has its limits: unlike the actor, we never get to make an exit, shedding our gender roles as we walk off the stage. Moreover, gender is not ...
Seite 4
... call to “liberate human personality from the straightjacket of gender”14 altogether, theater begins to look like an even more disruptive device. The sociologists Candace West and Don H. Zimmerman point out in their essay “Doing Gender ...
... call to “liberate human personality from the straightjacket of gender”14 altogether, theater begins to look like an even more disruptive device. The sociologists Candace West and Don H. Zimmerman point out in their essay “Doing Gender ...
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