By Jane de Gay
• what's the function of language in theatre today?
• Whose language is English; what different languages do ladies making theatre use?
• What does it suggest to write down approximately, picture and video dwell performance?
• what's the destiny for women's theatre in a global context more and more united via new applied sciences yet divided through new problems with cultural diversity?
Goodman and de homosexual research covers matters which are vital to present classes in Theatre and function and Women's reviews. They verify the varieties which girls as theatre-makers have selected to discover within the age of recent expertise, and examine a number of the diverse definitions of 'theory' provided by way of theatre-makers and critics together with Caryl Churchill, Hélène Cixous, Luce Irigiray and Julia Kristeva.
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Unlike Cleopatra, however, the three princesses are too young to be held responsible for this knowledge. These are not ‘bad women’ but impressionable girls whose every experience of the world has taught them to survive by playing roles to please, or to subvert the desires, of a patriarchy contained in a single male figure: the father/king. Here, then, we find the results of a genealogy of masculinist power abuse in its effects on a young generation, who grow to become the women who bring down Shakespeare’s Lear.
The ending is ambivalent as to whether she actually returns home or whether Sisterloo dreams of her return. The sequence takes place as Sisterloo recites lines by Sappho about the reunion of close friends: You will say See, I have come back to the soft arms I turned from in the old days … 9 Crow Station thus rewrites Odysseus’ return to Penelope in a way which affirms female intimacy. The different layers of classical allusion in this piece create a collage effect which open up different perspectives on the myths, resisting any unified, simplistic interpretation.
English translation of the Italian play-text, supplied by the playwright with the programme notes. From a talk given at the Magdalena Festival, 1994. The performance discussed here is that given at the Magdalena Festival in September 1994. The Toad Lilies went on tour with a later version of the piece in Wellington, Coventry, Amsterdam and Berlin, from May to July 1996. From the play-text. 36 2 Lear’s Daughters on Stage and in Multimedia and Fiona Shaw’s King Lear Workshops as Case Studies in Breaking the Frame Lizbeth Goodman This chapter looks behind the scenes at a number of specialized productions of excerpts from King Lear and a play about Shakespeare’s female characters.