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 50
Seite 1
... men in women's roles say one thing, but show something else. This impersonation, always incomplete on the non-illusory stage, yet always demanding acceptance if the play is to go on, stands metonymically for theatrical illusion itself ...
... men in women's roles say one thing, but show something else. This impersonation, always incomplete on the non-illusory stage, yet always demanding acceptance if the play is to go on, stands metonymically for theatrical illusion itself ...
Seite 2
... men had given birth to Western drama by appropriating the women's part in proto-theatrical rituals, as Arthur Pickard- Cambridge argues. “The change to drama,” he writes, “comes when men [instead of women] dressed up as maenads and sang ...
... men had given birth to Western drama by appropriating the women's part in proto-theatrical rituals, as Arthur Pickard- Cambridge argues. “The change to drama,” he writes, “comes when men [instead of women] dressed up as maenads and sang ...
Seite 6
... men of a political assembly. This is not to say that the depiction is not belittling—most comedy is—but that it is not realistic.) Gender is muddled yet again in the parabasis, the section of an old comedy in which the chorus makes a ...
... men of a political assembly. This is not to say that the depiction is not belittling—most comedy is—but that it is not realistic.) Gender is muddled yet again in the parabasis, the section of an old comedy in which the chorus makes a ...
Seite 7
... men who are mistaken for women—Agathon and, later, Cleisthenes (both played by the same actor)—and from the chorus of women at ... men's comically self-serving idea of what they'd like to hear such women say, and more, as a comment on ...
... men who are mistaken for women—Agathon and, later, Cleisthenes (both played by the same actor)—and from the chorus of women at ... men's comically self-serving idea of what they'd like to hear such women say, and more, as a comment on ...
Seite 8
... men, I might add), I don't regard them, a priori, merely as offensive artifacts of a sexist, hegemonic tradition. I detect, in their showy theatricality, the possibility of an internal critique of the forces that govern the ...
... men, I might add), I don't regard them, a priori, merely as offensive artifacts of a sexist, hegemonic tradition. I detect, in their showy theatricality, the possibility of an internal critique of the forces that govern the ...
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