Languages of Theatre Shaped by Women.

By: Gay, Jane deContributor(s): Goodman, ElizbethMaterial type: TextTextSeries: eBooks on DemandPublisher: Bristol : Intellect, 2001Description: 1 online resource (202 p.)ISBN: 9781841508788Subject(s): Feminism and theater | Feminist theater | Language and languages | Women in the theaterGenre/Form: Electronic books.Additional physical formats: Print version:: Languages of Theatre Shaped by WomenDDC classification: 418.00285 | 792.082 LOC classification: PN1590.W64 L364 2003ebOnline resources: Click here to view this ebook.
Contents:
Front Cover; Preliminaries; Contents; List of Illustrations; Notes on Contributors; Introduction: Speaking in Tongues - Making (Sense of) Women's Languages in Theatre; 1 Seizing Speech and Playing with Fire: Greek Mythological Heroines and International Women's Performance; 2 Lear's Daughters on Stage and in Multimedia and Fiona Shaw's King Lear Workshops as Case Studies in Breaking the Frame; 3 Playing (with) Shakespeare: Bryony Lavery's Ophelia and Jane Prendergast's I, Hamlet; 4 Theorizing Practice-Based Research: Performing and Analysing Self in Role as 'I, Hamlet'
5 Transmitting the Voices, Voyages and Visions: Adapting Virginia Woolf's To the Lighthouse for Radio6 Voicing Identities, Reframing Difference(s): The Case of Fo(u)r Women; Fo(u)r Women; 7 Scratch in the Record; 8 One-to-One: Lone Journeys; 9 Mouth Ghosts: The Taste of the Os-Text; Afterword - Shape-Shifters and Hidden Bodies; Bibliography and Further Reading; Index; Back Cover
Summary: Addressing issues of feminism and representation, this book provides a fresh and thorough consideration of the status and potential of Women''s theatre today.The authors explore a range of different approaches to the languages of theatre, including translation and interpretation of the art form, along with languages, performance work, body language and gesture. Considered alongside the related social issues of race, class and dialect, the following questions emerge: What is the role of language in theatre today? Whose language is English; what other languages do women making theatre use? What does it mean to write about, photograph and video live performance? What is the future for women''s theatre in an international context increasingly united by new technologies but divided by new issues of cultural diversity? Goodman and de Gay analysis covers issues that are central to current courses in Theatre and Performance and Women''s Studies. They assess the forms which women as theatre-makers have chosen to explore in the age of new technology, and look at some of the different definitions of ''theory'' offered by theatre-makers and critics including Caryl Churchill, Hélène Cixous, Luce Irigiray and Julia Kristeva.
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Front Cover; Preliminaries; Contents; List of Illustrations; Notes on Contributors; Introduction: Speaking in Tongues - Making (Sense of) Women's Languages in Theatre; 1 Seizing Speech and Playing with Fire: Greek Mythological Heroines and International Women's Performance; 2 Lear's Daughters on Stage and in Multimedia and Fiona Shaw's King Lear Workshops as Case Studies in Breaking the Frame; 3 Playing (with) Shakespeare: Bryony Lavery's Ophelia and Jane Prendergast's I, Hamlet; 4 Theorizing Practice-Based Research: Performing and Analysing Self in Role as 'I, Hamlet'

5 Transmitting the Voices, Voyages and Visions: Adapting Virginia Woolf's To the Lighthouse for Radio6 Voicing Identities, Reframing Difference(s): The Case of Fo(u)r Women; Fo(u)r Women; 7 Scratch in the Record; 8 One-to-One: Lone Journeys; 9 Mouth Ghosts: The Taste of the Os-Text; Afterword - Shape-Shifters and Hidden Bodies; Bibliography and Further Reading; Index; Back Cover

Addressing issues of feminism and representation, this book provides a fresh and thorough consideration of the status and potential of Women''s theatre today.The authors explore a range of different approaches to the languages of theatre, including translation and interpretation of the art form, along with languages, performance work, body language and gesture. Considered alongside the related social issues of race, class and dialect, the following questions emerge: What is the role of language in theatre today? Whose language is English; what other languages do women making theatre use? What does it mean to write about, photograph and video live performance? What is the future for women''s theatre in an international context increasingly united by new technologies but divided by new issues of cultural diversity? Goodman and de Gay analysis covers issues that are central to current courses in Theatre and Performance and Women''s Studies. They assess the forms which women as theatre-makers have chosen to explore in the age of new technology, and look at some of the different definitions of ''theory'' offered by theatre-makers and critics including Caryl Churchill, Hélène Cixous, Luce Irigiray and Julia Kristeva.

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