Sue Parrish and the Sphinx (formerly Women’s Theatre Group)

2020 ◽  
pp. 176-181
Author(s):  
Lizbeth Goodman ◽  
Jane de Gay
Keyword(s):  
Women's Theatre

Performing Ri(gh)t(e)s: (W)Riting the Native (In and Out of) Ceremony

2010 ◽  
Vol 35 (2) ◽  
pp. 139-151
Author(s):  
INÉS HERNÁNDEZ-AVILA
Keyword(s):  
Native American ◽  
American Studies ◽  
University Of California ◽  
Native American Studies ◽  
Las Casas ◽  
Women's Theatre ◽  
The University ◽  
Critical Perspectives ◽  
A Performance

This article considers Native American/indigenous (women's) theatre from the perspective of performing indigeneities/embodied spiritualities, in relation to ceremonial and ‘cotidian’ ri(gh)t(e)s, and the practice of personal and collective autonomy as a ri(gh)t(e). I situate my discussion within particular sites of the performance of indigeneity and the embodiment of spirituality in Chiapas, Mexico, where my research has taken me, within my own work with a performance course I created at the University of California, Davis, and within critical perspectives offered in Native American studies. I also provide some commentary on the two related gatherings that took place at the Centro Hemisférico/FOMMA, in San Cristobal de las Casas, Chiapas, August 2008, and the Actions of Transfer: Women's Performance in the Americas conference at UCLA, November 2008. Both events were co-sponsored by the Hemispheric Institute on Performance and Politics of NYU and they were announced on the UCLA website as ‘sister’ events. In August 2008, FOMMA officially became a ‘branch’ centre of the Hemispheric Institute.

scholarly journals ‘Transforming’ Women's Lives: Bobby Baker's Performances of ‘Daily Life’

2000 ◽  
Vol 16 (1) ◽  
pp. 17-25 ◽  
Author(s):  
Elaine Aston
Keyword(s):  
Social Transformation ◽  
Daily Life ◽  
The Body ◽  
Performance Space ◽  
Women's Lives ◽  
Theatre Studies ◽  
Contemporary Performance ◽  
Women's Theatre

In an earlier issue of New Theatre Quarterly, NTQ55 (August 1998), Marcia Blumberg examined the setting of the kitchen in performances by Bobby Baker and Jeanne Goosen, arguing for the ‘transitional and transgressive’ possibilities of this domesticcum-performance space. Here, Elaine Aston returns to the ‘kitchen’ in Bobby Baker's performances of ‘daily life’. The article examines Baker's ‘language’ of food which ‘speaks’ of domesticity, and her conjunction of comic playing and the hysterical marking of the body, to show how her performance work constitutes an angry, feminist protest at the lack of social transformation in women's lives. Elaine Aston has authored a number of studies on contemporary women's theatre, and is Chair of Contemporary Performance and Theatre Studies, Lancaster University.

Women's theatre in Italy

1995 ◽  
Vol 2 (3) ◽  
pp. 111-127
Author(s):  
Susan Bassnett
Keyword(s):  
Women's Theatre

Three Plays by Deborah Levy: a Brief Introduction

1993 ◽  
Vol 9 (35) ◽  
pp. 230-232
Author(s):  
Irini Charitou
Keyword(s):  
Twentieth Century ◽  
Women Characters ◽  
Focal Point ◽  
Women's Theatre ◽  
Twentieth Century Europe

DEBORAH LEVY wrote Pax as the result of a commission from the Women's Theatre Group to write an ‘anti-nuclear’ play. In her own words, she detests ‘those last-two-minutes-in-a-bunker-type scenarios’, so she decided to write an epic play with Europe in the twentieth century as a focal point. Pax takes on board Europe's past, present, and future. There are four women characters in the play, The Keeper, The Hidden Daughter, The Mourner, and The Domesticated Woman. In the published edition of Pax (Plays by Women, Vol. VI, ed. Mary Remnant, Methuen, 1987), Levy describes how she envisaged these characters:I found four archetypes, who represented twentieth-century Europe for me.

Farce or Failure? Feminist Tendencies in Mainstream Australian Theatre

2001 ◽  
Vol 26 (1) ◽  
pp. 82-93 ◽  
Author(s):  
Rachel Fensham
Keyword(s):  
Social Order ◽  
Gender Relations ◽  
Feminist Analysis ◽  
Feminist Theatre ◽  
Material Politics ◽  
Theatre Companies ◽  
Women's Theatre ◽  
Mainstream Culture

A feminist analysis of the repertoire written and directed by women within mainstream Australian theatre at the end of the millennium reveals that, in spite of thirty years of active feminism in Australia, as well as feminist theatre criticism and practice, the mainstream has only partially absorbed the influence of feminist ideas. A survey of all the mainland state theatre companies reveals the number of women making work for the mainstream and discusses the production politics that frames their representation as repertoire. Although theatre has become increasingly feminized, closer analysis reveals that women's theatre is either contained or diminished by its presence within the mainstream or utilizes conventional theatrical genres and dramatic narratives. Feminist theatre criticism, thus, needs to become more concerned with the material politics of mainstream culture, in which gender relations are being reconstructed under the power of a new economic and social order.

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