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Lives in play : autobiography and biography on the feminist stage / Ryan Claycomb.

By: Claycomb, Ryan M, 1974-.
Material type: TextTextSeries: JSTOR eBooks.Publisher: Ann Arbor : University of Michigan Press, ©2012Description: 1 online resource.Content type: text Media type: computer Carrier type: online resourceISBN: 9780472028535; 0472028537.Subject(s): American drama -- Women authors -- History and criticism | Feminist drama -- History and criticism | Autobiography in literature | Biography in literature | Feminism and literature -- United StatesAdditional physical formats: Print version:: No titleDDC classification: 812.009/9287 Online resources: Click here to view this ebook.
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Item type Current location Call number URL Status Date due Barcode
Electronic Book UT Tyler Online
Online
PS338.W6 C57 2012 (Browse shelf) https://ezproxy.uttyler.edu/login?url=http://www.jstor.org/stable/10.3998/mpub.4653571 Available ocn808867123

Includes bibliographical references and index.

Print version record.

Reviews provided by Syndetics

CHOICE Review

Claycomb (English, West Virginia Univ.) brings a fresh perspective on and wide-ranging analysis of the changes that have been occurring in feminist theater for the past 30 years. He shows how feminist playwrights began to draw material from the lives of real women and considers the impact this practice has had on feminist theater. The book is divided into two parts. The first part, "Autobiography: The Body and Self in Performance," comprises three chapters that focus on the self-histories of the playwrights examined and the work of a number of feminist performance artists. Sarah Kane's 4.48 Psychosis receives special attention. Part 2, "Biography: Staging Women's Lives," provides an excellent examination of biographical plays by feminist playwrights. Claycomb's analysis of April De Angelis's Playhouse Creatures (which looks at the life of Nell Gwyn) and Maria Irene Fornes's The Summer in Gossensass (which is about the first London production of Hedda Gabler) are evidence of the excellent textual analysis and the historical perspective the author offers. And the overview in part 2 is the best currently in print. This is a most welcome addition to the literature on theater, in particular scholarship on feminist practices. Summing Up: Highly recommended. Upper-division undergraduates, graduate students, faculty. M. D. Whitlatch Buena Vista University

Author notes provided by Syndetics

Ryan Claycomb is Associate Professor of English, West Virginia University.<br> <br>

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