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PART FOUR Feminist approaches to gender in performance 21 Susan Melrose INTRODUCTION TO PART FOURĢ2 Gayle Austin FEMINIST THEORIES: PAYING ATTENTION TO WOMEN*Ģ4 Barbara Smith TOWARD A BLACK FEMINIST CRITICISM*Ģ5 Sandra L.Richards WRITING THE ABSENT POTENTIAL: DRAMA, PERFORMANCE AND THE CANON OF AFRICAN-AMERICAN LITERATURE* PART THREE The changing status of women in theatre 13 Susan Bassnett INTRODUCTION TO PART THREEġ4 Julie Holledge INNOCENT FLOWERS NO MORE: THE CHANGING STATUS OF WOMEN IN THEATREġ5 Caroline Gardiner WHAT SHARE OF THE CAKE? THE EMPLOYMENT OF WOMEN IN THE ENGLISH THEATRE (1987)*ġ6 Jennie Long WHAT SHARE OF THE CAKE NOW? THE EMPLOYMENT OF WOMEN IN THE ENGLISH THEATRE (1994)*ġ7 Sarah Werner NOTES ON SHARING THE CAKEġ8 Linda Fitzsimmons ARCHIVING, DOCUMENTING AND TEACHING WOMEN’S THEATRE WORKġ9 Alison Oddey DEVISING (WOMEN’S) THEATRE AS MEETING THE NEEDS OF CHANGING TIMESĢ0 Carole Woddis BACK TO THE FUTURE: A VIEW FROM 1997 PART TWO Women taking the stage: The history of women in theatre 1660–1960 7Įlizabeth Howe ENGLISH ACTRESSES IN SOCIAL CONTEXT: SEX AND VIOLENCE*Įllen Donkin OCCUPATIONAL HAZARDS: WOMEN PLAYWRIGHTS IN LONDON, 1660–1800*ġ0 Tracy C.Davis THE SOCIAL DYNAMIC AND ‘RESPECTABILITY’*ġ1 Viv Gardner THE NEW WOMAN IN THE NEW THEATRE*ġ2 Maggie B.Gale A NEED FOR REAPPRAISAL: WOMEN PLAYWRIGHTS ON THE LONDON STAGE, 1918–58* Jean E.Howard CROSS-DRESSING, THE THEATRE AND GENDER STRUGGLE IN EARLY MODERN ENGLAND* Penny Gay THE HISTORY OF SHAKESPEARE’S UNRULY WOMEN* Lisa Jardine UNPICKING THE TAPESTRY: THE SCHOLAR OF WOMEN’S HISTORY AS PENELOPE AMONG HER SUITORS*Įlaine Aston FINDING A TRADITION: FEMINISM AND THEATRE HISTORY* Jane de Gay NAMING NAMES: AN OVERVIEW OF WOMEN IN THEATRE, Katharine Cockin INTRODUCTION TO PART ONE PART ONE The history of women in theatre 1 Lizbeth Goodman INTRODUCTION: GENDER IN PERFORMANCE (Hbk.) (Pbk.) Master e-book ISBN (Glassbook Format) British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication Data The Routledge reader in gender and performance / Lizbeth Goodman with Jane de Gay. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Simultaneously published in the USA and Canada by Routledge 29 West 35th Street, New York, NY 10001 © 1998 Editorial and selection Lizbeth Goodman with Jane de Gay © 1998 Individual contributions, the contributors The right of Lizbeth Goodman with Jane de Gay to be identified as the Authors of this Work has been asserted by them in accordance with the Copyright, Designs and Patents Act 1988 All rights reserved. The Routledge Reader in Gender and Performance Edited byįirst published 1998 by Routledge 11 New Fetter Lane, London EC4P 4EE This edition published in the Taylor & Francis e-Library, 2002. Jane de Gay is Researcher on the Gender, Politics, Performance Research Project at the Open University. Lizbeth Goodman is Lecturer in Literature at the Open University, and author of Contemporary Feminist Theatres (Routledge, 1993) and Sexuality in Performance (Routledge, 1998). The articles are arranged systematically to guide the reader from topic to topic, and specially written linking articles by scholars and teachers explain key issues and put the extracts in context. The Routledge Reader in Gender and Performance reviews ways in which sexuality has been explored and expressed in new forms of performance art and dance. Women’s bodies on stage feminist approaches comparative perspectives women’s status in the theatre reception and reviewing This first collection of its kind in the field covers:
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Taking a thoroughly international perspective, this book provides material on gender in the theatres of several countries, including post-apartheid South Africa and post-Communist Russia.
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This uniquely comprehensive volume spans the entire range of historical and theoretical approaches to the subject of gender and theatre. The Routledge Reader in Gender and Performance presents some of the most influential and widely known work on gender and performing arts, together with exciting and provocative new writings in the field. The Routledge Reader in Gender and Performance