A Sourcebook on Feminist Theatre and Performance: On and by Carol Martin

By Carol Martin

This paintings is a special choice of key articles on feminist theatre and function shape The Drama evaluation (TDR). Carol Martin juxtaposes thought and perform to supply a really entire assessment of the improvement of feminist theatre. This notable assortment comprises key texts via theorists resembling Elin Diamond, Peggy Phelan and Lynda Hart and interviews with practitioners together with Anna Deveare Smith and Robbie McCauley. It additionally comprises complete performances texts via of the main influential and arguable practiitioners of feminist theatre: Dress fits to Hire via Holly Hughes and The consistent country of Desire through Karen Finley. A Sourcebook on Feminist Theatre and Performance is a vital buy for college students of theatre reviews, functionality experiences and women's theatre.

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Weaver and Shaw’s butchfemme performances secure their space as the most notorious couple on the American lesbian theatre scene. 24. I want to dedicate this article to all those learning about feminism and theatre and performance, and from whom I have learned so much: the students and teachers and colleagues and practitioners who continue to teach each other about the possibilities of our field. PART I I History 1 ART VERSUS BUSINESS The Role of Women in American Theatre Helen Krich Chinoy In the decade or more since the women’s movement began, a number of books on the female experience in literature, art and architecture, film and dance have been published, but no comparable attempts have been made to identify a women’s tradition in the complex art of theatre.

Authorship, of course, doesn’t much matter in this context, but in terms of Brecht’s relationship with women, feminism’s borrowing from his theory now has taken on a new and different tint. , Acting Out, 363–382, in which she asks similar questions around feminist mimesis. See Lynda Hart, Fatal Women, New Jersey: Princeton University Press, 1994, for an extended reading of various cultural texts—Deb Margolin, Peggy Shaw, and Lois Weaver’s Lesbians Who Kill, the film Thelma and Louise, and the story of serial killer Arlene Warnous, among them— using psychoanalytic feminist strategies.

Much of what women did was dedicated to realizing a dream of a different kind of theatre. Perhaps this concluding sketch of the career of one woman will capture the essence of the special spirit that seems to have animated many of the women in American theatre. During the “full, lean years” of the Depression, a tiny woman in a fedora hat cast a huge shadow that covered the whole land with the vision of a different kind of theatre. Hallie Flanagan Davis during the few short years of the Federal Theatre Project made the tributary the mainstream.

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