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Violence in American Drama
This interdisciplinary collection of 19 essays addresses violence on the American stage. Topics include the revolutionary period and the role of violence in establishing national identity, violence by and against ethnic groups, and females as perpetrators and victims, as well as state and psychological violence and violence within the family. The book works to assess whether representing violence may cause its cessation, or whether it generates further destruction. Featured playwrights include Susan Glaspell, Sophie Treadwell, Tennessee Williams, William Inge, Amiri Baraka, Luis Valdes, Cherrie Moraga, Sam Shepard, Tony Kushner, Neil LaBute, John Guare, Rebecca Gilman, and Heather MacDonald.
Violent Women in Contemporary Theatres
This book brings together the fields of theatre, gender studies, and psychology/sociology in order to explore the relationships between what happens when women engage in violence, how the events and their reception intercept with cultural understandings of gender, how plays thoughtfully depict this topic, and how their productions impact audiences. Truthful portrayals force consideration of both the startling reality of women's violence — not how it's been sensationalized or demonized or sexualized, but how it is — and what parameters, what possibilities, should exist for its enactment in life and live theatre. These women appear in a wide array of contexts: they are mothers, daughters, lovers, streetfighters, boxers, soldiers, and dominatrixes. Who they are and why they choose to use violence varies dramatically. They stage resistance and challenge normative expectations for women. This fascinating and balanced study will appeal to anyone interested in gender/feminism issues and theatre.
Theatre Censorship in Spain, 19311985
This is a comprehensive study of the impact of censorship on theatre in twentieth-century Spain. It draws on extensive archival evidence, vivid personal testimonies and in-depth analysis of legislation to document the different kinds of theatre censorship practised during the Second Republic (1931–6), the civil war (1936–9), the Franco dictatorship (1939–75) and the transition to democracy (1975–85). Changes in criteria, administrative structures and personnel from these periods are traced in relation to wider political, social and cultural developments, and the responses of playwrights, directors and companies are explored. With a focus on censorship, new light is cast on particular theatremakers and their work, the conditions in which all kinds of theatre were produced, the construction of genres and canons, as well as on broader cultural history and changing ideological climate – all of which are linked to reflections on the nature of censorship and the relationship between culture and the state.
Intertextuality in American Drama
The new essays in this collection, on such diverse writers as Eugene O'Neill, Susan Glaspell, Thornton Wilder, Arthur Miller, Maurine Dallas Watkins, Sophie Treadwell, and Washington Irving, fill an important conceptual gap. The essayists offer numerous approaches to intertextuality: the influence of the poetry of romanticism and Shakespeare and of histories and novels, ideological and political discourses on American playwrights, unlikely connections between such writers as Miller and Wilder, the problems of intertexts in translation, the evolution in historical and performance contexts of the same tale, and the relationships among feminism, the drama of the courtroom, and the drama of the stage. Intertextuality has been an under-explored area in studies of dramatic and performance texts. The innovative findings of these scholars testify to the continuing vitality of research in American drama and performance.
Theatre History Studies 2015, Vol. 34
The 2015 volume of Theatre History Studies presents a collection of five critical essays examining the intersection of theatre studies and historiography as well as twenty-five book reviews highlighting recent scholarship in this thriving field.
Edward Albee as Theatrical and Dramatic Innovator
Edward Albee as Theatrical and Dramatic Innovator offers eight essays and a major interview by important scholars in the field that explore this three-time Pulitzer prize-winning playwright’s innovations as a dramatist and theatrical artist. They consider not only Albee’s award-winning plays and his contributions to the evolution of modern American drama, but also his important influence to the American theatre as a whole, his connections to art and music, and his international influence in Spanish and Russian theatre. Contributors: Jackson R. Bryer, Milbre Burch, David A. Crespy, Ramon Espejo-Romero, Nathan Hedman, Lincoln Konkle, Julia Listengarten, David Marcia, Ashley Raven, Parisa Shams, Valentine Vasak
Colorblind Tools
Winner of the 2023 Association for Ethnic Studies Outstanding Book Award A study of anti-Blackness and white supremacy across four continents demonstrates that colorblindness is neither new nor a subtype of racist ideology, but a constitutive technology of racism In Colorblind Tools, Marzia Milazzo offers a transnational account of anti-Blackness and white supremacy that pushes against the dominant emphasis on historical change pervading current racial theory. This emphasis on change, she contends, misses critical lessons from the past. Bringing together a capacious archive of texts on race produced in Brazil, Cuba, Mexico, Panama, the United States, and South Africa from multiple discipline...
Rape, Rage and Feminism in Contemporary American Drama
This first-ever study of rape in modern American drama examines portrayals of rape, raped women and rapists in 36 plays written between 1970 and 2007, the period during which the feminist movement made rape a matter of public discourse. These dramas reveal much about sexuality and masculine and feminine identity in the United States. The author traces the impact of second-wave feminism, antifeminist backlash, third-wave feminism and postfeminism on the dramatic depiction of rape. The prevalence of commonly accepted rape myths--that women who dress provocatively invite sexual assault, for example--is well documented, along with equally frequent examples which dispute these myths.
