Feminist Theatre Practice: A HandbookFeminist Theatre Practice: A Handbook is a helpful, practical guide to theatre-making which explores the different ways of representing gender. Best-selling author, Elaine Aston, takes the reader through the various stages of making feminist theatre- from warming up, through workshopped exploration, to performance - this volume is organised into three clear and instructive parts: * Women in the Workshop * Dramatic Texts, Feminist Contexts * Gender and Devising Projects. Orientated around the classroom/workshop, Handbook of Feminist Theatre Practice encompasses the main elements of feminist theatre, both practical or theoretical. |
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... (Monstrous Regiment,1997:62) Picture this:a chain of six women, hands outstretched, passing books from womanto woman. This was animage created bythe six women devisingperformers inthe Portraits of Rossetti project describedin Chapter9.It ...
... (Monstrous Regiment,1997:62) Picture this:a chain of six women, hands outstretched, passing books from womanto woman. This was animage created bythe six women devisingperformers inthe Portraits of Rossetti project describedin Chapter9.It ...
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... Monstrous Regiment raisesa serious point: thedifficulty for womentoreacheach other and to pass onpractical(in all senses of the word) advice inwhat remainsa maledominated profession and, in termsof staffing at least, academy. This ...
... Monstrous Regiment raisesa serious point: thedifficulty for womentoreacheach other and to pass onpractical(in all senses of the word) advice inwhat remainsa maledominated profession and, in termsof staffing at least, academy. This ...
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... Monstrous Regiment, objected: Rarely were we able to play women who lived onstagein their own right.Wewere always someone's wife, mother orlover. (Someone being aman,ofcourse.) Our theatricalidentitywas usually defined in terms of our ...
... Monstrous Regiment, objected: Rarely were we able to play women who lived onstagein their own right.Wewere always someone's wife, mother orlover. (Someone being aman,ofcourse.) Our theatricalidentitywas usually defined in terms of our ...
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... (Monstrous Regiment 1997:65). 'Style',nowmore commonly designatedas 'physical', characterises much ofthe1990s smallscale and middlescale companyworkon the Britishstage.As Hanna suggested, most of (but not all of) this company work.
... (Monstrous Regiment 1997:65). 'Style',nowmore commonly designatedas 'physical', characterises much ofthe1990s smallscale and middlescale companyworkon the Britishstage.As Hanna suggested, most of (but not all of) this company work.
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actress andthe andto atthe autobiographical biographical Bloody Chamber body Brechtian canonical Caryl Churchill Chapter character choreographed Churchill’s collaboration context create creative crossgendered cultural Cultural feminism daughter devising director discussion dominant dramatic text dramaturg écriture féminine emotional example exercises experience explore feel female femininity feminism feminist aesthetics feminist performance feminist theatre feminist theatre practice feminist theatremaking feminist theory Forexample fromthe gender gestures Hanna ideological improvise inthe invited inwhich isan Kathryn Hunter kindof Lear London look Loughborough Loughborough University male material materialist—feminist McLuskie monologues Monstrous Regiment mother movement narrative objects ofthe onthe oppression organisation Paines Plough patriarchal performance registers photographs physical play playwright political practitioners production realism representation resistant role Rossetti scene script sexuality Shakespeare social space stage story style suggestions theatrical thegroup thinkabout tobe Top Girls tothe voice warmup withthe woman women words workshop writing youcan yourgroup