By Carol Martin
This paintings is a different selection of key articles on feminist theatre and function shape The Drama evaluate (TDR). Carol Martin juxtaposes conception and perform to supply an extremely complete evaluation of the improvement of feminist theatre. This extraordinary assortment contains key texts by means of theorists equivalent to 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 by way of of the main influential and arguable practiitioners of feminist theatre: Dress matches to Hire through Holly Hughes and The consistent kingdom of Desire via Karen Finley. A Sourcebook on Feminist Theatre and Performance is a vital buy for college students of theatre experiences, functionality experiences and women's theatre.
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Additional resources for A Sourcebook on Feminist Theatre and Performance: On and Beyond the Stage
Especially since the turn of the 20th century, women have made their way into all the specialized positions in theatre, where they can be found if you have a mind to look for them and some sense of where they are most likely to be located. For although many women have made their mark in theatre, it hasn’t been easy for them to do so on Broadway or in the mainstream of theatre. In show business as in other businesses and professions, women have not easily or regularly come into positions of importance or power in the major institutions.
Yet questions about women’s participation in all aspects of theatre have become more insistent. As women with new self-awareness and enthusiasm try to use theatre to explore what it means to be a woman, they also look back in the hope of locating themselves in some female tradition that will help them understand their problems in the present as well as plan for the future. Despite the public life of theatre, we know very little about the role that women have played. It has not been easy to see a female network in the composite art of theatre or to find a sense of “we-consciousness,” as Simone de Beauvoir calls it, among actresses, playwrights, designers, directors, and producers.
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.