Contemporary Feminist Theatres: To Each Her Own

Front Cover
Routledge, 1993 - Performing Arts - 313 pages
1 Review
Reviews aren't verified, but Google checks for and removes fake content when it's identified
Contemporary Feminist Theatres is a major evaluation of the forms feminism has taken in the theatre since 1968. Lizbeth Goodman provides a provocative and interdisciplinary study of the development of feminist theatres in Britain. She examines the treatment of key issues such as gender, race, sexuality, language and power in performance.
Based on original research and fresh data, Contemporary Feminst Theatres is a fully comprehensive and admirably clear analysis of a flourishing field of practice and inquiry.

What people are saying - Write a review

Reviews aren't verified, but Google checks for and removes fake content when it's identified

LibraryThing Review

User Review  - RKC-Drama - LibraryThing

Contemporary Feminist Theatre is a major evaluation of the forms feminism has taken in the theatre since 1968. Lizbeth Goodman provides an important and much-needed analysis of the development of ... Read full review

User Review - Flag as inappropriate

Haven't read the whole book but the section on Monstrous Regiment is of particular interest. I was one of the founder members way back in the 70s. Shame the original members are not listed in full. Four years continuous touring and blasting the Regiment onto the theatrical map with amazing ground breaking dynamic work surely deserves a people mention. Also more worryingly in the case of Monstrous Regiment, the company commitment to music theatre is not acknowledged.
I was company composer/ musician/musical director as well as actor,and reluctant props person on Scum, Vinegar Tom and Cabaret yet seem to have been disappeared from the story and my contributions excluded. Original music for these works was a huge contribution to the formation and success of the company and involved my artistic collaborations with the writers ( eg Caryl Churchill on Vinegar Tom). Music was innovative and exciting, the original Regiment benefited from great musician/performers as well as actors. Blowing my own trumpet here, but thought the whole ethos of the Regiment was to honour and acknowledge women in theatre?! Lets hear it for the musicians! Helen Glavin
Founder member 1975 - 1979
http://www.helenglavincomposer.co.uk
 

Other editions - View all

About the author (1993)

Goodman is Senior Lecturer in Theatre and Performance Studies and Director of the Institute of New Media Performance Research at the University of Surrey.

Bibliographic information