The Routledge Reader in Gender and Performance.

By: Goodman, LizbethContributor(s): de Gay, JaneMaterial type: TextTextSeries: eBooks on DemandPublisher: Hoboken : Taylor and Francis, 2002Edition: 1Description: 1 online resource (359 p.)ISBN: 9780203143926Subject(s): Feminism and theater | Feminist theater | History | Women in the theater | Women in the theaterGenre/Form: Electronic books.Additional physical formats: Print version:: The Routledge Reader in Gender and PerformanceDDC classification: 792.082 | 792/.082 LOC classification: PN1590.W64 R68 1998ebOnline resources: Click here to view this ebook.
Contents:
Book Cover; Title; Contents; Acknowledgements; List of contributors; Fiona Shaw FOREWORD; Lizbeth Goodman INTRODUCTION: GENDER IN PERFORMANCE; Katharine Cockin INTRODUCTION TO PART ONE; Jane de Gay NAMING NAMES: AN OVERVIEW OF WOMEN IN THEATRE, 1500 1900; Lisa Jardine UNPICKING THE TAPESTRY: THE SCHOLAR OF WOMEN''S HISTORY AS PENELOPE AMONG HER SUITORS*; Elaine Aston FINDING A TRADITION: FEMINISM AND THEATRE HISTORY*; Penny Gay THE HISTORY OF SHAKESPEARE''S UNRULY WOMEN*; Jean E.Howard CROSS-DRESSING, THE THEATRE AND GENDER STRUGGLE IN EARLY MODERN ENGLAND*
Gerry Harris INTRODUCTION TO PART TWOElizabeth Howe ENGLISH ACTRESSES IN SOCIAL CONTEXT: SEX AND VIOLENCE*; Ellen Donkin OCCUPATIONAL HAZARDS: WOMEN PLAYWRIGHTS IN LONDON, 1660 1800*; Tracy C.Davis THE SOCIAL DYNAMIC AND ''RESPECTABILITY''*; Viv Gardner THE NEW WOMAN IN THE NEW THEATRE*; Maggie B.Gale A NEED FOR REAPPRAISAL: WOMEN PLAYWRIGHTS ON THE LONDON STAGE, 1918 58*; Susan Bassnett INTRODUCTION TO PART THREE; Julie Holledge INNOCENT FLOWERS NO MORE: THE CHANGING STATUS OF WOMEN IN THEATRE; Caroline Gardiner WHAT SHARE OF THE CAKE? THE EMPLOYMENT OF WOMEN IN THE ENGLISH THEATRE (1987)*
Jennie Long WHAT SHARE OF THE CAKE NOW? THE EMPLOYMENT OF WOMEN IN THE ENGLISH THEATRE (1994)*Sarah Werner NOTES ON SHARING THE CAKE; Linda Fitzsimmons ARCHIVING, DOCUMENTING AND TEACHING WOMEN''S THEATRE WORK; Alison Oddey DEVISING (WOMEN''S) THEATRE AS MEETING THE NEEDS OF CHANGING TIMES; Carole Woddis BACK TO THE FUTURE: A VIEW FROM 1997; Susan Melrose INTRODUCTION TO PART FOUR; Gayle Austin FEMINIST THEORIES: PAYING ATTENTION TO WOMEN*; Sue-Ellen Case TOWARDS A NEW POETICS*; Barbara Smith TOWARD A BLACK FEMINIST CRITICISM*
Sandra L.Richards WRITING THE ABSENT POTENTIAL: DRAMA, PERFORMANCE AND THE CANON OF AFRICAN-AMERICAN LITERATURE*Lesley Ferris INTRODUCTION TO PART FIVE: CROSS-DRESSING AND WOMEN''S THEATRE; Michelene Wandor CROSS-DRESSING, SEXUAL REPRESENTATION AND THE SEXUAL DIVISION OF LABOUR IN THEATRE; Marjorie Garber DRESS CODES, OR THE THEATRICALITY OF DIFFERENCE*; Gail Finney DEMYTHOLOGIZING THE FEMME FATALE: WILDE''S SALOM*; Claire MacDonald INTRODUCTION TO PART SIX; Lizbeth Goodman BRITISH FEMINIST THEATRES: TO EACH HER OWN*; Charlotte Canning THE LEGACIES OF FEMINIST THEATRES IN THE USA*
Kirsten F.Nigro INVENTIONS AND TRANSGRESSIONS: A FRACTURED NARRATIVE ON FEMINIST THEATRE IN MEXICO*Vera Shamina WOMEN IN RUSSIAN THEATRE; Miki Flockemann WOMEN, FEMINISM AND SOUTH AFRICAN THEATRE; Peta Tait FEMINISM IN AUSTRALIAN THEATRE*; Janet Adshead-Lansdale INTRODUCTION TO PART SEVEN; Jeanie K.Forte WOMEN''S PERFORMANCE ART: FEMINISM AND POSTMODERNISM*; Janet Wolff DANCE CRITICISM: FEMINISM, THEORY AND CHOREOGRAPHY*; Alexandra Carter FEMINIST STRATEGIES FOR THE STUDY OF DANCE; Mandakranta Bose GENDER AND PERFORMANCE: CLASSICAL INDIAN DANCING; Moe Meyer RECLAIMING THE DISCOURSE OF CAMP*
Mick Wallis PERFORMING SEXUALITY IN PSYCHIC SPACE
Summary: This Reader reviews ways in which sexuality has been explored and expressed in new forms of performance art and dance, women''s contributions to theatre history, and how theatre has represented women over the centuries.
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PN1590.W64 R68 1998eb (Browse shelf) http://uttyler.eblib.com/patron/FullRecord.aspx?p=169236 Available EBL169236

Book Cover; Title; Contents; Acknowledgements; List of contributors; Fiona Shaw FOREWORD; Lizbeth Goodman INTRODUCTION: GENDER IN PERFORMANCE; Katharine Cockin INTRODUCTION TO PART ONE; Jane de Gay NAMING NAMES: AN OVERVIEW OF WOMEN IN THEATRE, 1500 1900; Lisa Jardine UNPICKING THE TAPESTRY: THE SCHOLAR OF WOMEN''S HISTORY AS PENELOPE AMONG HER SUITORS*; Elaine Aston FINDING A TRADITION: FEMINISM AND THEATRE HISTORY*; Penny Gay THE HISTORY OF SHAKESPEARE''S UNRULY WOMEN*; Jean E.Howard CROSS-DRESSING, THE THEATRE AND GENDER STRUGGLE IN EARLY MODERN ENGLAND*

Gerry Harris INTRODUCTION TO PART TWOElizabeth Howe ENGLISH ACTRESSES IN SOCIAL CONTEXT: SEX AND VIOLENCE*; Ellen Donkin OCCUPATIONAL HAZARDS: WOMEN PLAYWRIGHTS IN LONDON, 1660 1800*; Tracy C.Davis THE SOCIAL DYNAMIC AND ''RESPECTABILITY''*; Viv Gardner THE NEW WOMAN IN THE NEW THEATRE*; Maggie B.Gale A NEED FOR REAPPRAISAL: WOMEN PLAYWRIGHTS ON THE LONDON STAGE, 1918 58*; Susan Bassnett INTRODUCTION TO PART THREE; Julie Holledge INNOCENT FLOWERS NO MORE: THE CHANGING STATUS OF WOMEN IN THEATRE; Caroline Gardiner WHAT SHARE OF THE CAKE? THE EMPLOYMENT OF WOMEN IN THE ENGLISH THEATRE (1987)*

Jennie Long WHAT SHARE OF THE CAKE NOW? THE EMPLOYMENT OF WOMEN IN THE ENGLISH THEATRE (1994)*Sarah Werner NOTES ON SHARING THE CAKE; Linda Fitzsimmons ARCHIVING, DOCUMENTING AND TEACHING WOMEN''S THEATRE WORK; Alison Oddey DEVISING (WOMEN''S) THEATRE AS MEETING THE NEEDS OF CHANGING TIMES; Carole Woddis BACK TO THE FUTURE: A VIEW FROM 1997; Susan Melrose INTRODUCTION TO PART FOUR; Gayle Austin FEMINIST THEORIES: PAYING ATTENTION TO WOMEN*; Sue-Ellen Case TOWARDS A NEW POETICS*; Barbara Smith TOWARD A BLACK FEMINIST CRITICISM*

Sandra L.Richards WRITING THE ABSENT POTENTIAL: DRAMA, PERFORMANCE AND THE CANON OF AFRICAN-AMERICAN LITERATURE*Lesley Ferris INTRODUCTION TO PART FIVE: CROSS-DRESSING AND WOMEN''S THEATRE; Michelene Wandor CROSS-DRESSING, SEXUAL REPRESENTATION AND THE SEXUAL DIVISION OF LABOUR IN THEATRE; Marjorie Garber DRESS CODES, OR THE THEATRICALITY OF DIFFERENCE*; Gail Finney DEMYTHOLOGIZING THE FEMME FATALE: WILDE''S SALOM*; Claire MacDonald INTRODUCTION TO PART SIX; Lizbeth Goodman BRITISH FEMINIST THEATRES: TO EACH HER OWN*; Charlotte Canning THE LEGACIES OF FEMINIST THEATRES IN THE USA*

Kirsten F.Nigro INVENTIONS AND TRANSGRESSIONS: A FRACTURED NARRATIVE ON FEMINIST THEATRE IN MEXICO*Vera Shamina WOMEN IN RUSSIAN THEATRE; Miki Flockemann WOMEN, FEMINISM AND SOUTH AFRICAN THEATRE; Peta Tait FEMINISM IN AUSTRALIAN THEATRE*; Janet Adshead-Lansdale INTRODUCTION TO PART SEVEN; Jeanie K.Forte WOMEN''S PERFORMANCE ART: FEMINISM AND POSTMODERNISM*; Janet Wolff DANCE CRITICISM: FEMINISM, THEORY AND CHOREOGRAPHY*; Alexandra Carter FEMINIST STRATEGIES FOR THE STUDY OF DANCE; Mandakranta Bose GENDER AND PERFORMANCE: CLASSICAL INDIAN DANCING; Moe Meyer RECLAIMING THE DISCOURSE OF CAMP*

Mick Wallis PERFORMING SEXUALITY IN PSYCHIC SPACE

This Reader reviews ways in which sexuality has been explored and expressed in new forms of performance art and dance, women''s contributions to theatre history, and how theatre has represented women over the centuries.

Description based upon print version of record.

Reviews provided by Syndetics

CHOICE Review

These 42 essays, 28 previously published, address not "gender," or even "performance," in the broadest sense, but "women" and "theater." The editors (Open Univ., UK) devised this collection primarily for distance learners with limited resources, a noble undertaking; but reducing previously published works by Lisa Jardine, Tracy C. Davis, Sue-Ellen Case, Gail Finney, Marjorie Garber, Laura Mulvey, Teresa de Lauretis, Judith Butler, Jill Dolan, et al., from 20-plus pages to "extracts" of four to five pages serves no one. The editorial practices are nowhere explained, so readers have no way of knowing that complex arguments in, say, Jean Howard's "Cross-Dressing, the Theatre, and Gender Struggle in Early Modern England" have been reduced from 26 to four pages. The 14 original essays and section introductions vary in quality and relevance. De Gay's superficial "overview" of the years 1500 to 1900 takes up four pages. The five original short essays in part 3, "The Changing Status of Women in Theatre," are devoted to women in Britain. Other original essays suffer from length limitation; subjects deserving detailed analysis get summaries. The 20-page bibliography has a British bias and some startling omissions. Not recommended. Libraries should instead have Performing Feminisms, ed. by Sue-Ellen Case (1990), and Gender in Performance, ed. Laurence Senelick (CH, Mar'93). J. W. Lafler; Institute for Historical Study

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