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 44
Seite 2
... 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 give stage and voice to. It can self ...
... 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 give stage and voice to. It can self ...
Seite 3
... reveal performativity?”13 So I return to the scene of the crime: the Western theatrical canon. Contemplating examples from the page, the stage, and the streets, I hope to reconnect a popular understanding of gender-as-performance to the ...
... reveal performativity?”13 So I return to the scene of the crime: the Western theatrical canon. Contemplating examples from the page, the stage, and the streets, I hope to reconnect a popular understanding of gender-as-performance to the ...
Seite 5
... reveal his leather phallus). He is swaddled in a girdle, draped in a yellow gown (which conceals his phallus), and trussed with a wig—all accoutrements borrowed from Agathon. Agathon explains why he possesses this wardrobe with his riff ...
... reveal his leather phallus). He is swaddled in a girdle, draped in a yellow gown (which conceals his phallus), and trussed with a wig—all accoutrements borrowed from Agathon. Agathon explains why he possesses this wardrobe with his riff ...
Seite 12
... reveal that she is the object of his desire. In this way, the audience also perceives her as an object of desire, by identifying with his male gaze. Case is referring to only one genre of theater here, though she implies that she is ...
... reveal that she is the object of his desire. In this way, the audience also perceives her as an object of desire, by identifying with his male gaze. Case is referring to only one genre of theater here, though she implies that she is ...
Seite 14
... reveals how social attitudes about race and gender inhibit a white man from sustaining an aesthetic attitude. At a women's bodybuilding show called The Most Awesome Female Muscle in the World, it was the staged flouting of gender laws ...
... reveals how social attitudes about race and gender inhibit a white man from sustaining an aesthetic attitude. At a women's bodybuilding show called The Most Awesome Female Muscle in the World, it was the staged flouting of gender laws ...
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 |
Andere Ausgaben - Alle anzeigen
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