...Laurence Senelick Copyright © THEATER 1989 1989 CHANGING SEX IN PUBLIC: FEMALE IMPERSONATION AS PERFORMANCE LAURENCE...

...Linda Walsh Jenkins; Susan Ogden-Malouf Copyright © THEATER 1985 1985 The (Female) Actor Prepares ~- Linda Walsh Jenkins and Susan Ogden-Malouf Actors are rnore powerfully affected by a play than...

... around women and the presentation of the female body: Eve Ensler's The Vagina Monologues , Janet Jackson's “wardrobe malfunction” at the 2004 Super Bowl, Don Imus' defamatory comments about the Rutgers women's basketball team, and the play My Name is Rachel Corrie , compiled from the late activist's...

... to foster a new generation of professional female dancers/choreographers in West Africa. She proposes that Dans Un S’Y Mettre and Engagement Féminin create a gender politics of their own devising, based in mutual support and articulated through women’s dancing bodies. © 2014 by Emily Carson Coates 2014...

... Last spring, we asked a number of critics, scholars, and directors who are concerned with Brecht's work whether they'd been affected by the last few years' spate of articles about the role of Brecht's female collaborators. Did giving new weight to the contribution of a woman assistant or co-author...

... reactions to the line-by-line leaps of imagination made within the written text. I would also suggest that the “invented behavior” indicated in the text be multiplied, musically defining smaller, stanza-like micro-sections of the text in any new stage production. FEMALE STUDENT OK Mr...

...”and “Jemale”movement. is going to be a “lecture-demonstra- and Landegg, Switzerland.7h.e Watcher Her direct address to the spec- tion.” As she speaks, the image that and the Watched is a gender study based on a white Western code of male and female behavior. Batdorf performs...

.... Female voice The play must be approached as a formal, Person in audience almost religious ceremony. Costumes The actors must be calm and dignified Boy: Tie and tails, white gloves. and serious. Girl...

... Male voice stage. Female voice The play must be approached as a formal, Person in audience almost religious ceremony. Costumes The actors must be calm and dignified Boy: Tie...

..., ulz. there was no conscious attempt national theater that permitted only women to exclude women from any of these functions. Is it also ac- L playwrights to submit plays for production, allowed cidental that the roles of female characters were acted by men only female...

... that it was incantatory, magical; art was an instrument of ritual.”1 In the seemingly banal rituals of Carrie Mae Weems’s vernacular photogra- phy, one experiences the soft positioning and glower and glare of the subject, whether belonging to past, present, or dystopian future. One sees the female figure...

... and the “putting on” of man have a Thus Butterfly’s grotesque idealized femaleness, dismisses the strange violence to them, perhaps because there is no woman Onnagata intention altogether and destroys the premise to remove at all, only the vestiges of what too often adds up Hwang had established earlier...

... her parasitic boyfriend seclusion, silence, and the tranquillity of the enlisted worker peacetime. the enlisted female worker...

... between their subjects,” given the diversity of the artists’ cultural and political backgrounds. But by 2003, this admis- sion seems a lot less exasperated, mostly because Holy Terrors’s female editors recognize the label as a “negotiated ethnic, cultural and political positioning” rather than...

... and women are from Venus. The central character, Dejanira, is a protean female spirit whom three chauvinist male suitors try to control and possess. She makes a bid to reclaim her- self, to realize her femininity free of the oppression of a masculine world. She embraces...

... the internal processes of each performer more exposed with- 30 out contextualizing them. I tried to keep these processes more abstract. I worked with 31 an all-female cast: Shahar Brown, Kama Kolton, Maya Weinberg, and Sharon Zucker- 32 man. I...

... Western values and courted Islamic reform. As a result, writers with a socialist-feminist consciousness have been over- shadowed by female exegetes who believe that Islam grants them greater status than Western “freedom” could...

... and New York: Methuen, 1983 . Case , Sue-Ellen . “Homosexuality and the Mother.” Brecht: Women and Politics (Brecht Yearbook, Volume 12). Eds. Bahr, Gisela, John Fuegi, and John Willett. Detroit: Wayne State University Press, 1983 . Cima , Gay Gibson . Performing Women: Female...

... can only intuit. express ourselves, and his theater invites us to rethink the full value of consciousness and rep- SOME OF THE THINGS resentation. “Condensing our wide field of THAT TAKE PLACE ON STAGE: impulses into a few nameable categories sup- The female student breaks eggs...

... provide examples of stance by the end of the play: none can imagine the alternative attrac- the new feminist theater practice. Performance artist Rachel Rosen- tion that Dora feels. Thus lesbian love, in the desiring female subject, thal creates what one might call ‘fields of subjectivity’, wherein...