By Lizbeth Goodman
Modern Feminist Theatres is a huge evaluate of the varieties feminism has taken within the theatre considering that 1968. Lizbeth Goodman presents a provocative and interdisciplinary examine of the advance of feminist theatres in Britain. She examines the therapy of key matters similar to gender, race, sexuality, language and gear in functionality. in line with unique learn and clean info, modern Feminst Theatres is an absolutely complete and admirably transparent research of a flourishing box of perform and inquiry.
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Extra info for Contemporary Feminist Theatres: To Each Her Own (Gender and Performance)
13 The clash between activist and academic feminisms has long been a problem area, and one which has been exacerbated by initial attempts to fit theory to practice in the study of feminist theatre. The lack of agreement about the meanings and implications of such terms has a significant impact on the definition of feminist theatre. Just as there is little agreement as to ‘what a feminist is’ even among selfidentified feminists, so there is little agreement as to what constitutes ‘feminist theatre’.
35 Hanna not only questions the value of the term ‘postfeminism’, but she also argues that the term is a sign of a cultural shift away from feminist ideas, and one which threatens to undermine the work of feminist theatre practitioners. Hanna’s concern is with theatre practice and the implications of imposing criticism and theoretical terminology upon it. The same problem has been identified by feminist critics. 37 Sarah Daniels has expressed the tension between being labelled a ‘feminist playwright’ and being a playwright who is feminist.
Just as the development of feminism was contingent upon the growth of the women’s movement, so the development of feminist theatre from street demonstration to ‘theatrical production’ was contingent upon the development of ‘fringe’ theatre. The emergence in 1968 and after of fringe theatre companies allowed for the subsequent development of splinter groups with particular allegiance to women’s issues. For instance, fringe companies such as Portable Theatre, The Pip Simmons Group, The Warehouse Company, The Brighton Combination, Welfare State International, and Incubus Theatre were instrumental to the development of The Women’s Street Theatre Group (which sometimes performed in theatre spaces), Monstrous Regiment, and Mrs Worthington’s Daughters.
Contemporary Feminist Theatres: To Each Her Own (Gender and Performance) by Lizbeth Goodman