In early 2020, as the first of many COVID lockdowns began across Australia, a collective of feminist and queer performance scholars and artists embarked on the research project Staging Australian Women’s Lives: Theatre, Feminism and Socially Engaged Art. Our aim was to document contributions of womxn theatre makers, while conducting a feminist analysis of strategies used to deal with gender inequality and oppression, on stage and off. While pivoting to the digital and the virtual, we recognised a need to (...) support womxn theatre makers whose lives and livelihoods are thrown into further precarity by the pandemic. This paper speaks to our commitment to bringing together critical theory, arts practices and everyday life in ethical forms and encounters that make visible, recognise and express care for one another and for the work. (shrink)

Over the past 30 years, the Australian state of Victoria has made numerous reforms to a set of jury directions purporting to address concerns that rape trials do not adequately respond to the reality of sexual offending in the community. Building on work identifying the predominant narratives mobilised in rape trials, in this article we consider whether the way in which a jury consumes information during a trial explains why the jury directions, positioned and utilised as they are, appear to (...) have been inadequate to the task of enabling juries to re-imagine evidence through alternative narrative frameworks. (shrink)

The theatre actor’s process in a rehearsal hall is reality and metaphor. It can be a rehearsal for justice, where we can live freely. In this laboratory the actor becomes all of us. Like the actor, we inhabit our bodies and our sexualities, sometimes as spiritual practice, or as sacred and creative, even as incarnations. In particular, women’s bodies remember what it is like to be no-body and what it is like to be a some-body. The texts of women’s bodies (...) contain their history of pain, wellness and illness. In creating a character, the actor creates a biography, an inner life, and the actor’s imagination aligns with the character’s situation. This is the creation of a character’s ‘living story’. Similarly, for all of us, this is akin to self knowledge. When women and sexual minorities tell their stories and listen to each others’ self knowledge, they are reading their bodies as texts. And worlds split open. (shrink)

The present essay discusses how women calypsonians in the English-speaking Caribbean use Calypso performances as a theatrical platform to offer a gendered critique of the nation and engage in a dialogue, which despite exhibiting pride in the nation, questions its various exclusions in ways that seek to redefine dominant constructions of the nation as ‘we’. Not only do they offer a vision of the nation and its cultural aspects that is more inclusive, they also speak out against cultural and political (...) oppression. I analyse specific performances by Singing Sandra (Trinidad) and Queen Ivena (Antigua) from my position as an ‘indigenous-outsider’ and ‘outsider within’ in order to demonstrate that Calypso performance is a post-colonial form of theatre in the English-speaking Caribbean that is being used by women as a site for feminist action and agency. (shrink)

This article presents a conceptual approach to feminist history that focuses on the strategies activists use in different temporal and spatial locations. The argument builds on recent insights within feminist theory and historiography that reveal an intimate relationship between historiography and epistemology in knowledge politics. This article, however, probes the limitations of this relationship by focusing on how current historiographical methods exclude or dilute the actions and events of history through representation and citation. By examining the work of Jamaican theatre (...) collective Sistren, and Bristol agit-prop group Sistershow, the article presents two ways to rethink temporality that makes those histories resistant to representation. This article argues for a more careful historiography that can do justice to the action of different historical temporalities. In the process, it opens emergent spaces and temporal challenges for feminist knowledge politics. (shrink)

This essay discusses the work of two female theatre-makers, and their strategic use of nudity on stage. The author appropriates signs of indignation in this work in order to re-visit the ‘problem’ of the female form being traditionally associated with bodily immanence rather than transcendence. Both Nic Green's Trilogy (2009–2010) and Ursula Martinez’ My Stories, Your Emails (2010) use the naked female form to proffer statements about the experience of being a woman in the 2000s. Their use of nudity breaks (...) with feminist theories popular in the 1990s, which argued that because the female form could never escape the symbolic logic of phallocentrism, it could never escape sexual objectification, and thus should operate on the margins of mainstream culture, cultivate agency by appropriating the means of production and be removed from view (radical negativity). By identifying as ‘artists’ and by insisting on their right to put their experience centre stage, Green and Martinez break with the anti-humanist theories of the 1990s and proffer a more individualistic strain of feminist performance. The author celebrates this work as a break away from the deadlock offered by theories of radical negativity. (shrink)

During the nineteen years of her play-writing career, Aphra Behn had far more new plays staged than anyone else. This book is the first to examine all her theatrical work. It explains her often dominant place in the complex theatrical culture of Charles II's reign, her divided political sympathies, and her interests as a free-thinking intellectual. It also reveals her as a brilliant theatrical practitioner, who used the seen as richly and significantly as the spoken.

This is a unique collection presenting work by Alain Badiou and commentaries on his philosophical theories. It includes three lectures by Badiou, on contemporary politics, the infinite, cinema and theatre and two extensive interviews with Badiou – one concerning the state of the contemporary situation and one wide ranging interview on all facets of his work and engagements. It also includes six interventions on aspects of Badiou's work by established scholars in the field, addressing his concept of history, Lacan, Cinema, (...) poetry, and feminism; and four original essays by young and established scholars in Australia and New Zealand addressing the key concerns of Badiou's 2015 visit to the Antipodal region and the work he presented there. With new material by Badiou previously unpublished in English this volume is a valuable overview of his recent thinking. Critical responses by distinguished and gifted Badiou scholars writing outside of the European context make this text essential reading for anyone interested in the development and contemporary reception of Badiou's thought. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:From Children's Perspectives:A Model of Aesthetic Processing in TheatreJeanne Klein (bio)Since the children's theatre movement began, producers have sought to create artistic theatre experiences that best correspond to the adult-constructed aesthetic "needs" of young audiences by categorizing common differences according to age groups. For decades, directors simply chose plays on the basis of dramatic genres (e.g., fairy tales), as defined by children's presupposed interests or "tastes," by subscribing to (...) Winifred Ward's broad descriptions of the "imaginative period" (ages six to nine), the "heroic period" (ages nine to twelve), and the "romantic period" (over age thirteen).1 Years later, Moses Goldberg elaborated upon these generalized divisions while cautioning that "no individual fits exactly into any set of categories."2 In his position paper on aesthetic development, he argued for individual access to aesthetic techniques, processes, and products for all ages, paralleled by four stages of cognitive capabilities, based on exposure to (1) arena-style participation theatre (for ages five to eight), which emphasizes story enactments; (2) a wide range of proscenium-style theatrical conventions; (3) relevant play content that directly relates characters' problems to spectators' lives and growing self-awareness; and (4) social issue plays that pose ethical dilemmas as cultural reflections.3 Meanwhile, Jed Davis compiled Age Group Profiles, organized by cognitive, spatial, emotional, and moral/ethical development, from his review of Piagetian literature; and Johnny Saldaña summarized stages of young interpretations of theatre from his seven-year longitudinal study.4Suffice it to say, the field of developmental psychology has come a long way since Piaget formulated his four constructivist stages. Since the mid-1950s, the cognitive revolution has spurred more integrated theories of information processing and depth-of-processing models that explain and predict how people construct schematic frameworks of knowledge and [End Page 40] assimilate and accommodate new information as a function of perception, attention, emotion, comprehension, memory, and social and moral behaviors. Although masculinist metaphors of hierarchical "staircases" and linear networks of associative learning still dominate computational models, feminist perspectives, which engender social cognitive, co-relational negotiations of narratives in situated contexts, have gained more widespread acceptance—by including theatre as an apt metaphor for development.5 Over the past twenty years or more, cognitive psychologists have finally discovered what dramatic theorists have known about narrative structures since Aristotle's Poetics: Powerful stories contain universal themes about the human condition through characters' conflicting actions. The most successful dramas are those that allow spectators to enter into a protagonist's psychological consciousness or "inner" vision in order to empathize with her "outer" reality.6While several developmental models of aesthetic understanding, experience, and appreciation exist in the realms of visual art and music education, few examples have been proposed in regard to theatre, particularly for child audiences.7 Instead, producers of Theatre for Young Audiences (TYA) tend to romanticize its social and moral "effects" upon youth by believing passionately that viewing one remarkable performance has the potential (the operative word) to "cause" positive, social changes in children's minds, hearts, and behaviors, given the presumed "power of human imagination."8 This obsession with progressive change foregrounds adults' desires to control human destiny by predicting "causes and effects" located in children's responses to live performances. However, this "folk theory" fails to explain how young imaginations actually function aesthetically from the contextual evidence of reception studies with child audiences. Just as feminists have argued for a distinctive "feminist aesthetics," based on women's alternative ways of knowing,9 I argue that children gaze upon theatre in differential ways by including age as a variable factor. "Children's aesthetics," their perceived interpretations of theatre, differ from that of adults' theorized postulations, based in part on their shorter life experiences with this medium. To this end, over the course of my career, I have sought to understand theatre from children's perspectives by focusing my research in the social cognitive theories and social science methods of child development, primarily through the vast literature of television and mass media studies conducted with young people over the past forty years. In particular, medium-specific studies that parse theatrical forms from dramatic content... (shrink)

Murga porteña, the satirical street theatre tradition associated with Carnival in Buenos Aires, Argentina, is historically a strongly patriarchal institution. Prominent roles such as reciting poetry, singing, and playing percussion instruments have been reserved exclusively for men. As the feminist movement in Argentina has grown in visibility and importance in recent years, feminist murga participants disrupted these patriarchal patterns. Women murga performers have begun to use murga as a space for feminist practice, both by creating women-only organizations to learn murga (...) skills and by bringing feminist perspectives into mixed-gender murgas. Murgueras are engaged in a multifaceted feminist project that disrupts gendered patterns by building women-only spaces to develop competence in the performance of historically masculine skills such as percussion. Drawing on ethnographic participant-observation of murga events as well as in-depth interviews with key organizers at the confluence of murga and feminism, we explore the ways in which murga has provided the spaces and strategies for collective feminist engagement. Murgas have become important social institutions in which women are “undoing gender” and disseminating feminist perspectives, even as most members join them not as explicitly feminist institutions. (shrink)

Maggie Günsberg explores the intersection between gender portrayal and other social categories of class, age and the family in the Italian theatre from the Renaissance to the present day. She examines the developing relationship between patriarchal strategies and the formal properties of the dramatic genre such as plot, comedy and realism. She also considers conventions specific to drama in performance, including images of both femininity and masculinity. An interdisciplinary approach, drawing on semiotics, psychoanalysis, philosophy, theories of spectatorship and dramatic theory (...) from a feminist perspective, informs Günsberg's critique of landmarks in Italian theatrical history, including work by Machiavelli, Ariosto, Goldoni, D'Annunzio and Pirandello. The book concludes with a chapter on the plays of Franca Rame, assessing the impact of this important figure on contemporary Italian theatre. (shrink)

This article addresses cultural memory’s ability to address past and present injustices by focusing on the artistic-political practices displayed by the professional actresses of Roma descent from the independent theater the Giuvlipen in Bucharest. The founders of this Romani women-centered theater also have ‘invented’ the word ‘Giuvlipen’ – ‘feminism’ in the Romani language – because there had previously been no word to connote both the forms of oppression and the consciousness raising politics performed by Romani women. By (...) applying the lens of intersectional feminism, the argument this article aims to put forth is that Giuvlipen’s artistic performances can foster the awareness raising of the Romani women’s ‘double jeopardy’. At the same time, the artistic performances displayed by the Giuvlipen Theater challenge the habits of historical remembering and its politics of oblivion, which can in turn promote experiential forms of knowledge and new structures and archives of feelings. (shrink)

MARINA PAOLA BANCHETTI-ROBINO is Associate Professor and Chair of the Philosophy Department at Florida Atlantic University. Her areas of research include phenomenology, philosophy of language, philosophy of science, philosophy of mind, and zoosemiotics. Her publications have appeared in such journals as Synthese, Husserl Studies, Idealistic Studies, Philosophy East and West, and The Review of Metaphysics. She has also contributed essays to The Role of Pragmatics in Contemporary Philosophy (1997), Feminist Phenomenology (2000), and Islamic Philosophy and Occidental Phenomenology on the Perennial (...) Issue of Microcosm and Macrocosm (2006). She co-edited Philosophies of the Environment and Technology (1999) and is currently working on a book-length project entitled The Birth of Science Out of the Spirit of Myth: A Historico-Phenomenological Re-Examination of the Crisis of the European Sciences. BERNARD BOXILL was born in Saint Lucia, West Indies where he received his primary and secondary education. He studied philosophy at the University of New Brunswick, Canada and at the University of California, Los Angeles where he was awarded a doctorate in philosophy in 1971. He has published numerous articles, a book, Blacks and Social Justice (1992), and is professor of philosophy at the University of North Carolina at Chapel Hill. ED BRANDON was born and educated in England, studying philosophy and linguistics at The University of York, England, and later philosophy at The University of Oxford with the late John Mackie. After teaching in Sierra Leone and briefly in England, he went to teach philosophy of education at the University of the West Indies at Mona, Jamaica in 1978. From 1992 he has been attached to a policy unit of the Vice-Chancellery, based at the Cave Hill campus in Barbados, where he has been assisting since 2000 with a new major in philosophy. His academic work can be accessed from http://cavehill.uwi.edu/bnccde/epb/personalpage.html CAROLYN CUSICK is a doctoral candidate in the Department of Philosophy at Vanderbilt University. She is a founding member of the Phenomenology Roundtable. Her research focuses on feminist epistemology, Africana philosophy, and phenomenology. LEWIS GORDON is President of the Caribbean Philosophical Association. He is Laura H. Carnell Professor, the most distinguished chair, at Temple University, where he holds appointments in philosophy, religion, and Judaic studies and directs the Institute for the Study of Race and Social Thought and the Center for Afro-Jewish Studies. He is also Ongoing Visiting Professor of Philosophy and Government at the University of the West Indies at Mona, Jamaica. He is the author of several books, including the award-winning Her Majesty's Other Children: Sketches of Racism from a Neocolonial Age (Rowman and Littlefield, 1997), Disciplinary Decadence: Living Thought in Trying Times (Paradigm, 2006), An Introduction to Africana Philosophy (Cambridge University Press, forthcoming), and co-editor of A Companion to African-American Studies (Blackwell, 2006) and Not Only the Master's Tools: African-American Studies in Theory and Practice (Paradigm, 2005). CLEVIS HEADLEY is currently Associate Professor of Philosophy at Florida Atlantic University, director of the Ethnic Studies Certificate Program, as well as director of the Master's in Liberal Studies. Professionally, he serves as the Vice-President and Treasurer of the Caribbean Philosophical Association. Professor Headley has published widely in the areas of Critical Race Theory and Africana philosophy. He has also published in Analytic philosophy, focusing specifically on Gottlob Frege. PAGET HENRY is Professor of Sociology and Africana Studies at Brown University. He is the author of Caliban's Reason: Introducing Afro-Caribbean Philosophy, Peripheral Capitalism and Underdevelopment in Antigua, and the co-editor of C. L. R. James' Caribbean. Professor Henry also serves as the editor of the C. L. R. James Journal, and has published numerous articles on the political economy of the Caribbean as well as on African, African-American, and Afro-Caribbean philosophy. ESIABA IROBI is Associate Professor of International Theatre/Performance Studies at Ohio University, Athens. His groundbreaking book: A Theatre for Cannibals: Resisting Globalization on the Continent and Diaspora since 1441 will be published by Palgrave Macmillan, London, in 2007. He has been invited to be an External Resident Fellow at the prestigious Dartmouth College Humanities Institute for the 2007-2008 academic year. CHIKE JEFFERS is a graduate student in the Ph.D. program of the Philosophy Department at Northwestern University. His interests are in Africana philosophy, social and political philosophy, ethics, philosophy of religion and aesthetics. He is originally from Toronto, Ontario, Canada. CATHERINE JOHN is Associate Professor of African Diaspora Literary and Cultural Studies at the University of Oklahoma. Her book Clear Word and Third Sight: Folk Groundings and Diasporic Consciousness in African Caribbean Writing was co-published by Duke University Press and UWI Press in 2003. She has published several articles on Caribbean literature and culture and her current book project is entitled The Just Society and the Diasporic Imagination. She spends her summer working in Woodside, St. Mary, Jamaica helping with a summer school for children and participating in the community's emancipation celebration. KENNETH KNIES is a doctoral student in philosophy at Stony Brook University. His areas of focus are phenomenology and ancient philosophy. He is also a contributing editor for Political Affairs magazine. EDIZON LEN is a photographer and coordinator of the Fondo Documental Afro-Andino at the Universidad Andina Simòn Bolivar in Quito, Ecuador. In 2006, he was curator of the photo exhibit "The Color of the Diaspora" presented at the Cultural Center of the Catholic University of Ecuador and the University of Tennessee in Knoxville. He is currently completing his doctorate at the Universidad Andina Simòn Bolivar with a focus on Maroon thought. REKHA MENON is Associate Professor of Art History at State University of New York, Buffalo State. She is the author of Seductive Aesthetics of Post Colonialism (forthcoming). Her area of research focuses on current philosophical investigations in colonial and neocolonial aspects of Indian art, artistic/cultural practices and philosophies and their relationship to Western arts and philosophies. Her manuscripts under review are: Ashamed of Our Nakedness, Is There Ever a Naked Body? Ambivalence in Contemporary Indian Expressive Aesthetics and Insatiable Desire. MICHAEL R. MICHAU is a Ph.D. candidate in the Philosophy and Literature Program at Purdue University, and during the 2006-2007 school year, a lecturer in the Department of Comparative Studies and Department of Philosophy at Ohio State University. He is the co-founder and co-secretary of the North American Levinas Society. CHARLES W. MILLS is Distinguished Professor of Philosophy at the University of Illinois at Chicago. He works in the general area of oppositional political theory, and is the author of numerous articles and three books: The Racial Contract (Cornell University Press, 1997), Blackness Visible: Essays on Philosophy and Race (Cornell University Press, 1998), and From Class to Race: Essays in White Marxism and Black Radicalism (Rowman and Littlefield, 2003). MABOGO P. MORE is currently Associate Professor of Philosophy at the University of KwaZulu-Natal, South Africa. He has published articles on African philosophy and social and political philosophy in a number of academic journals, such as South African Journal of Philosophy, Dialogue and Universalism, Alternation, Theoria, and African Journal of Political Science. MARILYN NISSIM-SABAT, Ph.D., M.S.W. is Professor Emerita and Adjunct Professor of Philosophy, Lewis University. Dr. Nissim-Sabat is also a psychotherapist in private practice. She is the author of numerous book chapters and papers in the fields of philosophy (Husserlian phenomenology), psychoanalysis, feminism, and critical race theory. Citations of her works can be found on her website: marilynnissim-sabat.com. FREDERICK OCHIENG'-ODHIAMBO is a Senior Lecturer of Philosophy and Coordinator of the discipline at The University of the West Indies, Cave Hill, Barbados. His major research areas are African philosophy and social philosophy. He has published several articles on philosophic sagacity. IVAN PETRELLA is an Assistant Professor of Religious Studies at the University of Miami. He is author of The Future of Liberation Theology: An Argument and Manifesto (SCM Press, 2006) and editor of Latin American Liberation Theology: The Next Generation (Orbis Books, 2005) as well as co-editor of the series Reclaiming Liberation Theology (SCM Press) RICHARD PITHOUSE is a research fellow at the University of KwaZulu-Natal in Durban, South Africa. He is editor of Asinamali: University Struggles in Post-Apartheid South Africa (Africa World Press, 2006). SATHYA RAO is Assistant Professor in French translation at the Department of Modern Languages and Cultural Studies, University of Alberta, Canada. His research fields include: theory of translation, continental philosophy, postcolonial studies, discourses on Africa, and Francophone cinema and literature. He has published articles in various peer-reviewed journals and written chapters in several collective books such as: De l'Ecrit Africain a l'Oral le Phenomene Graphique Africain, Simon Battestini (Ed.) (Paris: L'Harmattan, 2006) and Thèorie-rèbellion. Un Ultimatum, Gilles Grelet (Ed.) (Paris: L'Harmattan, 2005). He has a co-edited a book on Francophone African cinema L'Afrique fait son cinema (Montreal: Memoires d'encrier, forthcoming). Sathya Rao is vice-president of the International Non-Philosophical Organisation (INPhO), member of the Canadian Association of Translatology (CATS), coordinator of the research team Poexil, and Secretary of the Caribbean Philosophical Association. He is co-founder of an online journal Alternative Francophone. CATHERINE WALSH is Professor and Director of the doctoral program in Latin American Cultural Studies at the Universidad Andina Simon Bolivar in Quito, Ecuador. Her research interests include the geopolitics of knowledge, interculturality and concerns related to the Afro-Andean Diaspora and the production of decolonial thought. Among her recent publications are Pensamiento crìtico y matriz colonial (Quito: Abya Yala, 2005), "Interculturality and the Coloniality of Power. An 'Other' Thinking and Positioning from the Colonial Difference," in Coloniality of Power, Transmodernity, and Border Thinking, R. Grosfoguel, J.D. Saldivar, and N. Maldonado-Torres (Eds.) (Durham: Duke University Press, forthcoming) and "Shifting the Geopolitics of Critical Knowledge: Decolonial Thought and Cultural Studies 'Others' in the Andes," Cultural Studies (forthcoming). KRISTIN WATERS has published widely in the areas of race and gender. Her anthology Enlightened Conversations: Women and Men Political Theorists (Blackwell, 2000) challenges political theorists to be more inclusive of race and gender in their research and teaching. Her book Black Women's Intellectual Traditions: Speaking Their Minds, co-edited with Carol Conaway (University of Vermont Press, forthcoming), addresses the varied intellectual traditions of black women's thought that spans more than two hundred years in North America. She is currently Professor of Philosophy at Worcester State College and Visiting Research Associate at Brandeis University. (shrink)

Based on the personal experience of the author, who is involved in theatre projects with women convicts, the article moves across issues of detention, migration, and precarity. Foucault's concept of governmentality is instrumental in describing the arbitrary exercise of power on incarcerated people and their precarious living conditions. Life in jail is especially uncertain for clandestine migrants. In the article, recollections from the rehearsals of the show / racconti del corpo (Tales of the body) alternate with images and quotes from (...) the play, poems by women convicts, and reflections on detention as the ultimate condition of precarity for migrant women. (shrink)

This article illuminates Henry Irving’s production of Shakespeare’s Cymbeline (1896) as a major contribution to fin-de-siècle Gothic culture. Cymbeline (1896) was one of the most popular Victorian Shakespeare productions, running to wild acclaim for more than seventy-two performances. In Cymbeline’s sexually-charged bedroom scene, Imogen, played by beloved Victorian actress Ellen Terry, was preyed upon by Henry Irving’s villainous Iachimo. Terry and Irving were at the zenith of a twenty-year partnership at London’s Lyceum theatre, and Victorian Britain’s greatest star actors. Ellen (...) Terry’s Imogen became an ideally desirable heroine for both audiences and critics of Victorian Shakespeare. Simultaneously, Cymbeline, and the acclaimed performances of Terry and Irving, became a source for literature’s most famous Gothic vampire novel: Dracula, published by Bram Stoker in 1897. Bram Stoker was Henry Irving’s business manager, and intimately involved with Irving and Terry’s professional lives at the Lyceum theatre. This article reveals the relationship between Shakespeare and Dracula, especially Ellen Terry’s Imogen as an inspiration for Lucy Westenra. Textual evidence includes Terry’s correspondence and unpublished promptbooks, as well as Stoker’s biography of Henry Irving, and facsimile notes on Dracula. Examining Cymbeline (1896) and Dracula (1897) offers a new reading of Dracula, given Cymbeline’s obsession with liminal states and female vulnerability. Moreover, Victorian responses to Ellen Terry’s Imogen in the bedchamber scene highlight fin-de-siècle eroticisations of the sleeping woman, and Victorian fantasies of sexual access to the actress. Examining Terry’s reception illuminates the disjunction between performed female passivity as Imogen, and the professional, creative activity that underlined Terry’s stage practice and agency as a Victorian actress. (shrink)

This work considers current models for understanding tactical interaction among social movement actors and finds them insufficient for making sense of the tactical work required of the Irish women's movement. Analysis of Irish feminist efforts to expand reproductive freedom calls into question the idea that tactical innovations are solely responses to countermovements or state repression. In this case, feminist activists spent considerable energy avoiding co-optation by sympathetic men and class-based movements and competing with economic and nationalist dilemmas that capture the (...) lion's share of public attention. “Friendly fire” refers to the process by which nonoppositional groups within and around, but not of, a movement threaten movement aims. Observational work focused on feminist campaign meetings and political theater yields significant insights concerning the effects of friendly fire and, specifically, the role of men in women's movements. (shrink)

This paper investigates the dilemma that has been projected upon Indian female dancers’ bodies by contemporary Indian audiences when female desire occupies the centrality of a performance and projects the female body as sexual, articulate and independent of the discipline and propriety of classicism. Locating this dilemma in the nationalist construction of Indian womanhood and femininity as ‘chaste’, this paper adopts Victor Turner's notions of liminal and liminoid phenomenon and Brechtian defamiliarization technique as a feminist strategy to construct a framework (...) within which the contemporary Indian dancer can reclaim her sexuality in performance. To investigate the complex nationalist trope of chaste Indian womanhood, and to analyse the subversion of this trope by placing agency on the female body as sexual, I locate my argument in the discussion of The Silk Route: Memory of a Journey by Kinaetma Theatre, UK, which was performed in Kolkata in August 2004. (shrink)

Since the 1990s, there has been an extended debate among feminists and left-wing thinkers concerned with notions of justice and equality about the relationship between ‘redistribution’ and ‘recognition’ in contemporary politics. In this article, I examine the ways in which the issues of redistribution of resources and recognition are articulated in plays by contemporary Black and Asian women playwrights such as Rukhsana Ahmad, Tanika Gupta, Winsome Pinnock, and Zindika. I shall suggest that their theatre work, and experience of working in (...) the theatre, produce a dynamic and interdependent model of the relation between redistribution and recognition that ultimately suggests the need for recognition as the continuing primary concern of Black and Asian communities in Britain. This is evident in the plays’ contents, the theatrical forms employed by Black and Asian women playwrights (often naturalistic and issue-based), and the funding and theatre policies with which they engage. These, as I shall argue, produce tensions between the collective identities which they hail, for instance, through the appellation ‘Black playwright’, and the individual identities the playwrights seek to assert, requiring negotiations between the empowering as well as constraining demands of collective identities and the post-‘cultural diversity’ aspirations of long-term theatre politics. (shrink)

This volume explores the work and thought of Edith Stein (1891-1942). It discusses in detail, and from new perspectives, the traditional areas of her thinking, including her ideas about women/feminism, theology, and metaphysics. In addition, it introduces readers to new and/or understudied areas of her thought, including her views on history, and her social and political philosophy. The guiding thread that connects all the essays in this book is the emphasis on new approaches and novel applications of her philosophy. (...) The contributions both extend the interdisciplinary implications of Stein's thinking for our contemporary world and apply her insights to questions of theatre, public history and biographical representation, education, politics, autism, theological debates, feminism, sexuality studies and literature. The volume brings together for the first time leading scholars in five language-groups, including English, German, Italian, French and Spanish-speaking authors, thereby reflecting an international and cosmopolitan approach to Stein studies. (shrink)

Women, Modernism, and Performance is an interdisciplinary 2004 study that looks at a variety of texts and modes of performance in order to clarify the position of women within - and in relation to - modern theatre history. Considering drama, fiction and dance, as well as a range of performance events such as suffrage demonstrations, lectures, and legal trials, Penny Farfan expands on theatre historical narratives that note the centrality of female characters in male-authored modern plays but that do not (...) address the efforts of women artists to develop alternatives both to mainstream theatre practice and to the patriarchal avant garde. Focusing on Henrik Ibsen, Elizabeth Robins, Ellen Terry, Virginia Woolf, Djuna Barnes, Edith Craig, Radclyffe Hall and Isadora Duncan, Farfan identifies different objectives, strategies, possibilities and limitations of feminist-modernist performance practice and suggests how the artists in question transformed the representation of gender in art and life. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Literature, Politics, and CharacterOliver Conolly and Bashshar HaydarWhat is the relationship between literature and politics? We might interpret this question in terms of causality. For example, we might ask whether literature has any effects in the world of politics and if so how. Auden famously proclaimed that poetry makes nothing happen, while it was central to Brecht's dramaturgy that theatre has certain political effects on its audience. Conversely, we (...) might see literature as an effect of political causes and claim that certain political environments give rise to certain types of literature, and that those political backgrounds thereby explain certain aspects of literary phenomena. Both kinds of causal relationship are at the heart of Marxist literary criticism, and of the many schools of academic criticism which share the Marxist assumption that individual consciousness, and its literary manifestations, are subordinate to political environment.These causal questions are important and interesting, particularly if approached with requisite critical tact. However, in this paper we would like to focus on the epistemological and normative questions of whether literature is suited to communicate political knowledge or insights, and whether we value, or rather ought to value, literature for such communication. These two questions are in our view intimately related. While there is no doubt that literary works can be made to communicate virtually all kinds of knowledge, from knowledge about the Big Bang to knowledge how to smuggle illegal immigrants into First World countries, these kinds of knowledge are not what we go to literature for. We go to literature and value it for giving us knowledge which it is peculiarly suited to communicate. It is natural to praise a novel for its insight into, say, character but odd to praise a novel for its [End Page 87] insight into, say, meteorology. This is because literature is suited at communicating insights into character, and is not suited at communicating insights into meteorology.The suitability of literature to explore the inner life derives from the expressive and imaginative possibilities inherent in the very medium of literature. For example, Henry James's Portrait of a Lady reveals the inner logic (or psychologic) that underlies the self-destructive behavior of its heroine, Isabel Archer, her disastrous choice of husband being dictated by a desire to prove a point to herself—that she is indifferent to his poverty relative to that of the other suitors—rather than an informed sense of her true interests.1 This is not to say that literature is the only medium in which insight into character can be communicated, but that this is one of the kinds of insight which literature is suited at communicating.The question of whether literature is suited to impart political insights is thus determinative of the question of whether its doing so counts towards its value as literature.2 This is the question to which we now turn.IThe question of whether literature is suited to impart political insights presupposes an understanding of the scope of the political, and the kinds of phenomena that can properly be called political. The scope of the political can be conceived more or less broadly. The narrow view is that politics is concerned with the nature and legitimacy of the state, government, legal and other coercive institutions. The broad view is that politics is concerned with power relations between social groups that are mediated not through institutions but through attitudes.The distinction can be illustrated with reference to two kinds of feminist argument. Feminist arguments for laws on sex discrimination and equal pay, and their proper implementation, are political in the narrow sense. However, feminists may also argue, irrespective of such institutional changes, that social attitudes towards women—the attitudes of a given society, including those of women—should be changed in certain ways. For example, a generally held view that emphasizes the importance of women's appearance, their role as adjuncts to their husbands—the kinds of views that were prevalent in the 1950's, say—is open to challenge by feminists outside a narrow institutional framework. The reason this [End Page 88] stance is political is that it concerns systemic attitudes which underpin power relations between one group... (shrink)

ABSTRACTThis article describes our experience using art and theatre to engage rural communities in western Cambodia to understand malaria and support malaria control and elimination. The project was a pilot science–arts initiative to supplement existing engagement activities conducted by local authorities. In 2016, the project was conducted in 20 villages, involved 300 community members and was attended by more than 8000 people. Key health messages were to use insecticide-treated bed-nets and repellents, febrile people should attend village malaria workers, and to (...) raise awareness about the risk of forest-acquired malaria. Building on the experience and lessons learnt in the year prior, the 2017 project which was conducted in 15 villages involved 600 community members and attracted more than 12,000 people. In addition to the malaria theme, upon discussion with local health authorities, secondary theme was added to the 2017 project. We learnt the following lessons from our experience in... (shrink)

Art or Porn? The popular media will often choose this heading when reviewing the latest sexually explicit novel, film, or art exhibition. The underlying assumption seems to be that the work under discussion has to be one or the other, and cannot be both. But is this not a false dilemma? Can one really draw a sharp line between the pornographic and the artistic? Isn't it time to make room for pornographic art and for an aesthetic investigation of pornography? In (...) answering these questions this book will draw on insights from many different disciplines, including philosophy, feminist theory, aesthetics, art history, film studies, theatre studies, as well as on the experience of people who are actually operating in the art world and porn industry. By offering a variety of theoretical approaches and examples taken from a wide range of art forms and historical periods, the reader will gain a fuller and deeper comprehension of the relations and frictions between art and pornography. (shrink)

Subversive Pedagogies draws attention to creative and critical pedagogies as a resource for engaging pressing problems in global politics. The collection explores the radical potential of pedagogy to transform students, scholars, citizens and institutions. It brings together scholars and students from a range of disciplinary backgrounds, including international relations, political science, indigenous studies, feminist theory and theatre studies, as well as practitioners in theatre and the arts. These diverse voices explore innovative pedagogical practices that extend our understanding of where pedagogy (...) happens, invite critical assessment of the ways the neoliberal university shapes and restricts pedagogical engagement, and offer both theoretical and practical tools to explore more creative and broader understandings of what pedagogy can and should do. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:“Warn Me If I Approach the Melody” HELAINE L. SMITH In the 1950s on Saturday night TV, Sid Caesar performed comic sketches for a full hour. In one sketch Carl Reiner played Edward R. Murrow interviewing Caesar as the jazz musician Progress Hornsby. At a certain point Murrow asks Hornsby, “To what do you attribute your band’s great success?” and Hornsby answers, “Well, we have special equipment that warns (...) us if we get anywhere near the melody.” And so it must be with Nancy Worman and all those classicists who approach classics and literature as she does—special equipment to warn them whenever they get anywhere near a responsible reading of the text.* Her argument, cast in sentences whose words, like the amphisbaena, turn back on themselves or are unrecognizable as spoken or written English, boils down to (1) Greek men were colonialists and imperialists; (2) Greek tragedy celebrated men of this sort; (3) there arose, quite to the surprise and possibly to the consternation of its authors, women in their plays who were strong and violent rebels against the oppressive social order; (4) Virginia Woolf, whose feminism is not quite as pure as we’d like it, is not so bad after all because, if you look closely, pulling out the odd word here and there, decontextualizing it, inserting its decontextualized meaning elsewhere and mistranslating any Greek phrase that stands in your way, you discover—voila!—that she held views of Greece and Greek tragedy identical to those of radical feminism and shaped her novels, stories, and essays to reflect that view. Worman’s feminist audience, as familiar as it must be with feminist reception theory, would appear, from the unusual number of play summaries, elementary descriptions of the arion 28.1 spring/summer 2020 *Nancy Worman, Virginia Woolf’s Greek Tragedy. London and New York: Bloomsbury Academic, 2019. xii + 152 pages. $102.00. 150 “warn me if i approach the melody” origin and structure of Greek drama, and serious mistranslations in her book, to be unfamiliar with ancient drama, with basic Greek, and perhaps with Virginia Woolf as well. Her book has from such scholars received copious praise. But for those who begin less thematically burdened and who, as a colleague of mine liked to say, “worship at the altar of the text,” Worman’s methods turn scholarly inquiry on its head, not because of what they conclude, but because her conclusions are reached the same way the Queen of Hearts insisted trials be conducted: verdict first, evidence afterwards. Nor does Worman’s text have any discernible structure. Material within chapters bears fleeting connection to chapter titles and subheads. Points appear, vanish, and reappear, like the Cheshire cat, suggesting prior academic papers, here combined. This overall disorganization weakens the book, as does the non-linear quality of individual points. The organization of this review, therefore, is not thematic but chronological : it addresses those works of Woolf’s to which Worman gives attention, and presents them by date of publication. A Room of One’s Own appears nowhere in Worman’s text, and To the Lighthouse receives only minimal attention. Medea is nowhere mentioned in the favored categories of proto-feminist and fierce woman. While The Trojan Women and The Birds would both have served Worman well in arguing that Greek theatre reflected Athenian imperialism, they too make no appearance in her text. Instead, she casts Sophocles’ Electra and Antigone as fierce women and their plays, together with the Agamemnon, as emblematic of Athenian aggression and patriarchy. And so, in the forced nature of Worman’s translations and in the reductiveness of her assessment of Woolf, we see the consequences of a determination to bend texts to serve popular theories. “a dialogue upon mount pentelicus” (1906) woolf’s views of Greece reveal the complexity of great writing. Woolf frequently satirizes classicists who take their Helaine L. Smith 151 learning to be a sign of natural excellence, those for whom knowledge of Greek is simply a marker of position and rank. But for those who love such things for their own sake, or come to love them, as the tourists eventually do in “A Dialogue upon Mount Pentelicus,” she... (shrink)

This interdisciplinary book examines the work of several female artists since 1960 in the areas of dance, music, installation, photography, architecture, poetry, literature, theater, film, and performance art. Each chapter is primarily devoted to an important work by a single artist, seen within its historical context, and with particular attention to how each artist incorporated gender issues or feminist thought into her respective art form. Laurie Anderson, Gwendolyn Brooks, Jane Campion, Judy Chicago, Zaha Hadid, Pauline Oliveros, Yvonne Rainer, Cindy (...) Sherman, Amy Tan, and Paula Vogel have each made groundbreaking contributions to their fields. As a group, they represent a tremendous diversity of approaches to art making: from accessible to opaque, from overtly feminist to apolitical, from emotive to cool, from controversial to mainstream. (shrink)

This critical volume addresses the question of Rabindranath Tagore's relevance for postmodern and postcolonial discourse in the twenty-first century. The volume includes contributions by leading contemporary scholars on Tagore and analyses Tagore's literature, music, theatre, aesthetics, politics and art against contemporary theoretical developments in postcolonial literature and social theory. The authors take up themes as varied as the implications of Tagore's educational vision for contemporary India; new theoretical interpretations of gender, queer elements, feminism and subalternism in Tagore's literary and (...) social expressions; his language use as a vehicle for a dialogue between positivism, Orientalism and other constructs in the ongoing process of globalization; the nature of the influence of Tagore's music and literature on national and cultural identity formation, particularly in Bengal and Bangladesh; and intersubjectivity and critical modernity in Tagore's art. This volume opens up a space for Tagore's critique and his creative innovations in present theoretical engagements. (shrink)

The relationship between philosophy and theatre is a central theme in the writings of Plato and Aristotle and of dramatists from Aristophanes to Stoppard. Where Plato argued that playwrights and actors should be banished from the ideal city for their suspect imitations of reality, Aristotle argued that theatre, particularly tragedy, was vital for stimulating our emotions and helping us to understanding ourselves. Despite this rich history the study of philosophy and theatre has been largely overlooked in contemporary philosophy. This is (...) the first book to introduce philosophy and theatre. It covers key topics and debates, presenting the contributions of major figures in the history of philosophy, including: what is theatre? How does theatre compare with other arts? theatre as imitation, including Plato on mimesis truth and illusion in the theatre, including Nietzsche on tragedy theatre as history theatre and morality, including Rousseau’s criticisms of theatre audience and emotion, including Aristotle on catharsis theatre and politics, including Brecht’s Epic Theatre. Including annotated further reading and summaries at the end of each chapter, Philosophy and Theatre is an ideal starting point for those studying philosophy, theatre studies and related subjects in the arts and humanities. (shrink)

Valerie Solanas deserves fresh assessment. An innovator whose aberrant humour has not been fully recognized, Solanas embarked on the male-dominated route of a type of satire that has most commonly been represented in the form of male stand-up comedy. She does not engage in the irony, absurdly overstated ‘femininity’ or parodic self-reference with which many women comedians have ridiculed male behaviour. Her Scum Manifesto (1968) declares war on the patriarchal establishment in all its multiple forms: government, capitalism, the economy, law, (...) work, the family and male sexuality. She uses the term men to condemn all persons of either sex who perpetuate the supremacy of patriarchal institutions, which she believes in all seriousness to be a deadly threat to humanity. Solanas also denounces all forms of withdrawal, separatism and élitism, which, in her view, seriously compromise the wider political applications of SCUM. This paper interprets the notorious shooting of Andy Warhol, which, especially since the film made on this subject, is often uncritically regarded as proof of Solanas’s insanity, as an iconoclastic act of theatre in which Solanas abandoned clear-cut distinctions between life and art. (shrink)

This anthology examines Love's Labours Lost from a variety of perspectives and through a wide range of materials. Selections discuss the play in terms of historical context, dating, and sources; character analysis; comic elements and verbal conceits; evidence of authorship; performance analysis; and feminist interpretations. Alongside theater reviews, production photographs, and critical commentary, the volume also includes essays written by practicing theater artists who have worked on the play. An index by name, literary work, and concept rounds out (...) this valuable resource. (shrink)

Richard Wagner has come to be seen as the quintessential artist of the nineteenth century, whose work embraces all the arts of the period. Dieter Borchmeyer here provides the first systematic and comprehensive account of Wagner's aesthetic theory, examining his hitherto neglected prose writings and his ideas on music drama from the various standpoints of literature, the linking of ideas, and the sociology of art. The pre-eminent importance for Wagner of classical Greek art and mythology emerges with particular clarity, while (...) his links with the great figures and forms of world theatre - Shakespeare, the commedia dell'arte, the popular theatre, and the puppet theatre - are traced in detail. The influence on Wagner of the historical and social novel is also discussed. The author provides the first comprehensive analysis of Cosima Wagner's Diaries, and throws unexpected sidelights on Wagner's relationship with Nietzsche, in particular his important contribution to Nietzsche's The Birth of Tragedy. Central to the present study are Wagner's music dramas from Die Feen to Parsifal. These are examined in their literary, ideological, and socio-political contexts. First published in German in 1982, this book has become established as a standard work of Wagner scholarship, and now appears for the first time in English in a completely revised edition incorporating a number of new chapters on the music dramas. (shrink)

Science and theatre are generally thought to share no common cognitive ground for the simple reason that the former appeals to the intellect, whereas the latter appeals to the emotions. Contrary to this view, I claim that like scientific texts, theatrical texts evince a cognitive intent and that, despite obvious differences, both types show similarities on three cognitive levels: (a) the use of equivalent systems of representation and communication; (b) the operation of a mode of thinking; and (c) the embodiment (...) of a rhetorical structure. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 39.4 (2005) 12-19 [Access article in PDF] Seeking the Aesthetic in Creative Drama and Theatre for Young Audiences Nellie McCaslin Introduction Is an aesthetic experience ever achieved in a creative drama class or in attending a performance of a children's play? If it is, how do I know and how can it be achieved? This is a question to which I have given much (...) thought and in so doing have been flooded with memories of my own passion for theatre in all its forms, first as a child and years later as a teacher. These memories have shaped my perception of the aesthetic presence, elusive but powerful, which comes in its own way and in its own time. The following is an account of revisiting those memories in the light of today's practices and objectives. The result is not a scholarly piece or approach to the question but simply a record of one person's journey through the theatre arts as she experienced it at a particular point in time, when the pedagogy and the terminology of today were nonexistent, or at least were not generally known. Nor, I might add, was the question.From that journey through time, I have reached a few tentative convictions. First among them is that the most important element in teaching creative drama or producing children's plays is the one too often marginalized by practitioners today in their pursuit of practical ends and contemporary issue-oriented scripts.1 It is the aesthetic. Is theatre an art form worth studying in its own right or is it an educational tool, appealing to administrators and producers because it is effective? I believe that it is an art and should be taught as an art form first and foremost, but that skillfully done, it can accomplish both objectives. The grey area between art and education is difficult for the inexperienced teacher to negotiate without the loss of one goal or the other. It is the intent that charts the course. [End Page 12] Early Recollections What was it that first drew me to the theatre? Was it the play? The players? Or the combined skills of all who were involved in the production whether it was a professional company in a theatre downtown; a puppet show at a community center; "dramatics" in the classroom, when the teacher allowed us to "act out" a history lesson or favorite story; or an assembly program put on by the eighth grade in the school auditorium? To me, they were all theatre, and theatre in whatever form it took was magic. To us, theatre was real, regardless of the performers or the venue. Even the puppets ceased to be inanimate figures in the hands of an artist who shared his belief in their reality with his young audiences. Indeed, the puppets assumed human proportions before our eyes and have remained so in my memory ever since. Was this not just as much of an aesthetic experience for us, the viewers, as the performance of living actors? I believe that it was, although at the age of eight I had never heard the word "aesthetic" or stopped to analyze my reactions.The reason, among others, for my lack of discrimination as a child was the fact that in America at that time no differentiation was made between what we did and what we saw, never mind who did it. There was a clear distinction between the amateur and the professional; it didn't concern us. We flocked to the few shows, both amateur and professional, deemed appropriate for children, and we made up shows of our own in our own backyards. Our shows were improvised (another term we didn't know then), but even minus a script, it was still theatre because we believed in it and so did the little ones on our block who were the audience.It was Winifred Ward, an American pioneer in the field, writing a few years later, who was to distinguish between process and product... (shrink)

In this paper the author compares the concept of a Noh play, Matsukaze, with a Slovak altar painting from Košice Cathedral. The article uses Japanese Noh, where stage continuity has been preserved up until the present day, to reconstruct European medieval stage practices reflected in 15th century painting. Referring to the platonic tradition, the second speech represents a corrective to the first, thus legitimizing a sense of passion in the process leading to catharsis, or enlightenment.

In lieu of an abstract, here is a brief excerpt of the content:Building Literacy Bridges for Adolescents Using Holocaust Literature and TheatreWayne Brinda (bio)IntroductionDo you have a sibling or best friend whom you dared to do something? Did you ever slip surreptitiously into a place where you should not be? What if your best friend or sibling later became your enemy because of a situation beyond your control? Could that happen? What would you do? Think about those questions as you (...) read this excerpt from In My Brother's Image: Twin Brothers Separated by Faith after the Holocaust and visualize the action:The boys look more alike than brothers. In fact, they are identical twins, indistinguishable in the smooth innocence of their faces, their wide brown eyes, and their hair, nearly shaven to their scalps to thwart the summer heat... At the entrance to the grand church of St. Stephen's Basilica in Budapest, the boys slip surreptitiously through the six-inch-wide opening of the formidable oak middle door, with its inlaid bronze portraits of the Hungarian kings. They giggle gleefully and a bit nervously as they peer into the dimly lit chamber, which feels refreshingly cool in contrast to the scorching afternoon sun they have just escaped. The twins mimic and build on each other's playful daring. Even their spirited laughter is identical, punctuated by squeals of delight... Let's go find his hand. What? St. Stephen's hand. I heard that his hand is kept in a golden box behind the altar somewhere. Let's go find it. No. We're not supposed to be back there. That's the craziest thing I ever heard—a king's hand inside a box in a church. He must have been pretty mad when they cut his hand off.1 [End Page 31]This small theatrical imaginative experience begins the adventure of two twin Hungarian Jewish boys who became caught up in World War II, the Holocaust, communism, and the aftermath.Those two boys became the father and uncle of the author, Eugene Pogany, who wrote In My Brother's Image: Twin Brothers Separated by Faith after the Holocaust. Pogany recalls and tries to reconcile their experiences, differences, and conflicts with each other that lasted a lifetime and beyond. As educators and those who work with adolescents, we seek to reconcile the past experiences and conflicts our students have with reading by finding strategies that bridge adolescents and literature. Two powerful tools for building such bridges are nonfiction literature written about the experiences of young people and adults during and after the Holocaust and using theatre to bring these stories to life.McEwan noted that as literature becomes complex, adolescents tend to struggle with comprehension and may forgo the idea of discovering enjoyment.2 Incorporating nonfiction stories from the Holocaust with innovative theatre experiences of the literature into the curriculum can engage students in literature with complex themes, characters, and plots. This is especially true when the learning is assessed by using projects developed by, with, and for young adolescents. As a result, the literature becomes comprehensible, accessible, relevant, enjoyable, and aesthetically stimulating.As an educator, researcher, and artistic director of a theatre for young adults, I reflect on the charge by Snow and Biancarosa that educators need to "figure out how to ensure that every student gets beyond the basic literacy skills of the early-elementary grades, to the more challenging and more rewarding literacy of the middle and secondary school years."3 For some students, literacy bridges are gateways to new worlds, skills, and possibilities for enjoyment. For students who struggle with reading, those bridges are obstacles they are afraid or even refuse to cross because of past fears or failures. Even with guidance and support, many students will stop reading when the text becomes complex or never even attempt to read the book when they decide it has no relevancy or purpose after looking at its title, skimming the back, looking for pictures, or counting the pages.This leads to a question and thoughts that inspired my research on using Holocaust literature and theatre to engage young students in discovering, comprehending, visualizing, and aesthetically enjoying the literary experience:• What can be done in the... (shrink)