Hardback : £107.00
"The Routledge Reader in Gender and Performance" blends some of the most influential and widely-known work on gender and performing arts, with exciting and provocative new writings in the field. A must for anyone interested in theatre and performance art, this collection addresses complex questions about gender, from the history of women's involvement in the theatre to modern preoccupations with the body.
Divided topically, each section opens with a piece that links the essays included. Some issues covered include women's stage work, women's bodies on stage, feminist approaches, comparative perspectives, women's status in the theater, and the reception and reviewing of women's dramatic work. The collection takes a thoroughly international approach with specially commissioned articles of post-Apartheid South Africa and post-communist Russia. It also reviews ways in which sexuality has been explored and expressed in new forms of performance art and dance.
Essential reading for feminists, theater enthusiasts and theater and art practitioners, this reader is the most up-to-date resource for the exploration of gender and performance.
Contributors: Fiona Shaw, Katharine Kockin, Jane de Gay, Lisa Jardine, Elaine Aston, Penny Gay, Jean E. Howard, Gerry Harris, Elizabeth Howe, Ellen Donkin, Tracy C. Davis, Viv Gardner, Maggie Gale, Susan Bassnett, Julie Holledge, Caroline Gardiner, Jennie Long, Sarah Werner, Linda Fitzsimmons, Alison Oddey, Carole Woddis, Susan Melrose, Gayle Austin, Sue- Ellen Case, Barbara Smith, Sandra L. Richards, Lesley Ferris, Michelene Wandor, Marjorie Garber, Gail Finney, Claire MacDonald, Lizbeth Goodman, Charlotte Canning, Kirsten F. Nigro, VeraShamina, Micki Flockemann, Peta Tait, Janet Adshead-Lansdale, Jeanie K. Forte, Janet Wolff, Alexandra Carter, Mandakranta Bose, Moe Meyer, Mick Wallis, Susan Bennett, Laura Mulvey, Teresa de Lauretis, Judith Butler, Jill Dolan, Stephen Regan, Susan Kozel and Lois Weaver.
"The Routledge Reader in Gender and Performance" blends some of the most influential and widely-known work on gender and performing arts, with exciting and provocative new writings in the field. A must for anyone interested in theatre and performance art, this collection addresses complex questions about gender, from the history of women's involvement in the theatre to modern preoccupations with the body.
Divided topically, each section opens with a piece that links the essays included. Some issues covered include women's stage work, women's bodies on stage, feminist approaches, comparative perspectives, women's status in the theater, and the reception and reviewing of women's dramatic work. The collection takes a thoroughly international approach with specially commissioned articles of post-Apartheid South Africa and post-communist Russia. It also reviews ways in which sexuality has been explored and expressed in new forms of performance art and dance.
Essential reading for feminists, theater enthusiasts and theater and art practitioners, this reader is the most up-to-date resource for the exploration of gender and performance.
Contributors: Fiona Shaw, Katharine Kockin, Jane de Gay, Lisa Jardine, Elaine Aston, Penny Gay, Jean E. Howard, Gerry Harris, Elizabeth Howe, Ellen Donkin, Tracy C. Davis, Viv Gardner, Maggie Gale, Susan Bassnett, Julie Holledge, Caroline Gardiner, Jennie Long, Sarah Werner, Linda Fitzsimmons, Alison Oddey, Carole Woddis, Susan Melrose, Gayle Austin, Sue- Ellen Case, Barbara Smith, Sandra L. Richards, Lesley Ferris, Michelene Wandor, Marjorie Garber, Gail Finney, Claire MacDonald, Lizbeth Goodman, Charlotte Canning, Kirsten F. Nigro, VeraShamina, Micki Flockemann, Peta Tait, Janet Adshead-Lansdale, Jeanie K. Forte, Janet Wolff, Alexandra Carter, Mandakranta Bose, Moe Meyer, Mick Wallis, Susan Bennett, Laura Mulvey, Teresa de Lauretis, Judith Butler, Jill Dolan, Stephen Regan, Susan Kozel and Lois Weaver.
Fiona Shaw, Katharine Cockin, The Open University, UK, Lisa Jardine, Queen Mary and Westfield College, UK, Elaine Aston, University of Loughborough, UK, Penny Gay University of Sydney, Australia, Jean E. Howard, Columbia University, USA, Gerry Harris, University of Lancaster, UK, Elizabeth Howe, Ellen Donkin, Hampshire College, USA, Tracy C. Davis, Northwestern University, USA, Viv Gardner, University of Manchester, UK, Maggie Gale, Birmingham University, UK, Susan Bassnett, University of Warwick, UK, Julie Holledge, Flinders University of South Australia, Caroline Gardiner, City University, London, UK, Jennie Long, Sarah Werner, University of Pennsylvania, UK, Linda Fitzsimmons, University of Bristol, UK, Alison Oddey, University of Kent, UK, Carole Woddis, Susan Melrose, Central School of Speech and Drama, UK, Gayle Austin, Georgia State University, USA, Sue-Ellen Case, University of California, Riverside, USA, Barbara Smith, Sandra L. Richards, Northwestern University, USA, Lesley Ferris, Ohio State University, USA, Michelene Wandor, Marjorie Garber, Harvard University, USA, Gail Finney, University of California, Davis, USA, Claire McDonald, DeMontfort University, UK, Charlotte Canning, University of Texas, Austin, USA, Kirsten F. Nigro, University of Cincinnati, USA, Vera Shamina, Kazan University, Russia, Miki Flockemann, University of the Western Cape, South Africa, Peta Tait, La Trobe University, Australia, Janet Adshead-Lansdale, University of Surrey, UK, Jeanie K. Forte, Jane Wolff, University of Rochester, USA, Alexandra Carter, Middlesex University, UK, Mandakranta Bose, University of British Columbia, Canada, Moe Meyer, Art Center College of Design, Pasadena, USA, Mick Wallis, Loughborough University, UK, Susan Bennett, University of Calgary, Canada, Laura Mulvey, British Film Institute, UK, Teresa de Lauretis, University of California, Santa Cruz, USA, Judith Butler, University of California, Berkeley, USA, Jill Dolan, CUNY, USA, Stephen Regan The Open University, UK, Susan Kozel, University of Surrey, UK, Lois Weaver, College of William and Mary, USA
Lizbeth Goodman, Jane de Gay
'What is valuable about this volume is its diversity and eclecticism. The book will be a useful resource, particularly for the teaching of feminist theatre and performance.' - New Theatre Quarterly
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