An Introduction to Feminism and Theatre

Aston, Elaine

doi:10.4324/9780203393291

Cited by 87 publications

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“…She cannot cope with the different aspects of life. Elaine Aston (1994) interprets that "the gap between the struggling for the 'revolution' and fighting for her 'feller' is visually encoded in Fish's costuming" (159). Fish unexpectedly commits suicide at the end of the play because she fails to connect the politics of her feminism and her personal life.…”

Section: Dusa I Can't Take This!mentioning

confidence: 99%

Feminisms in Pam Gems' Play Dusa, Fish, Stas and Vi

Erkan¹

2018

PAU J Soc Sci Ins

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The purpose of this study is to examine Pam Gems' Play Dusa, Fish, Stas and Vi (1977), which portrays the inner lives of four women, through a blend of three major feminist perspectives; namely liberal feminism, radical feminism, and socialist feminism. The play supports the "the personal is political" feminism as well, since the reason of the oppression of women is the political decisions of men that have great impact on the lives of each individual woman. The four title characters represent a spectrum of female experience and women narratives in a style of biographical theatre. The common foreground for them is their struggle to survive in a male-dominated society. The play depicts friendship as a bond intended for solving individual problems with men rather than collectives fight against patriarchal power. The unbalanced gap between the political and the personal life causes Fish's downfall when she realizes women have no complete liberation in the private life.

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Section: Dusa I Can't Take This!mentioning

confidence: 99%

Feminisms in Pam Gems' Play Dusa, Fish, Stas and Vi

Erkan¹

2018

PAU J Soc Sci Ins

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“…Cuando se habla de teatro en su dimensión social se suele situar en el horizonte un conjunto de experiencias que acaban por ocultar la riqueza enorme del campo. Así ocurre con el «teatro del oprimido» de Boal, que no es sino una más de las líneas de trabajo que se han configurado a lo largo del siglo XX, teniendo como principio fundamental la idea de un teatro para la emancipación personal, social o política (Buenaventura, 1970;Broyles-González, 1995), como ocurre en las propuestas que han compendiado Kershaw (1992), Aston (1995) o Cohen-Cruz (1998), en las que la práctica teatral se torna manifestación contra la dominación, el sometimiento o la hegemonía, en direcciones diversas, desde la perspectiva de clase, la cultural, la artística o la de género.…”

Section: Intersecciones: La Construcción Del Sujeto Creadorunclassified

Trabajo Social y teatro: considerando las intersecciones

Vieites¹

2016

Cuad. Trab. Soc.

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21 IntroducciónEn su trayectoria profesional muchos especialistas en Trabajo Social se habrán de encontrar con la práctica teatral por todo lo que ésta, en su dimensión educativa y sociocultural, puede aportar a todas aquellas personas con las que trabajan a diario (Onieva, 2011 Resumen El teatro es una forma cultural y artística que implica un proceso de comunicación entre creadores y receptores en un espacio y en un tiempo que se sitúan en la esfera pública, lo que ha permitido que a lo largo de los siglos haya servido como espacio de expresión, intercambio o debate de todo tipo de ideas, causas y luchas. En ese proceso están implícitos procesos de expresión, creación y recepción por medio de los cuales las personas muestran, analizan y cuestionan formas de ver y entender la vida, maneras de ser y de estar en el mundo; de ahí deriva su potencial educativo, cultural, social y político, avalado por numerosos estudios e investigaciones. En este trabajo, que tiene una orientación teórica asentada en una revisión de literatura pertinente, consideramos diferentes intersecciones que se producen entre teatro y Trabajo Social, para señalar también que la expresión dramática y la expresión teatral ofrecen metodologías substantivas en la consecución de algunos objetivos del trabajo social, especialmente en ámbitos como la alfabetización crítica, la reflexividad y el reconocimiento, la concientización, la participación social, el desarrollo personal y/o comunitario, la apropiación de capital cultural o el acceso al bienestar personal y social. Palabras clave: teatro, Trabajo Social, alfabetización, concientización, participación. AbstractTheatre is a cultural and artistic form that involves a process of communication between creators and is received in a space and time located in the public sphere, which has meant that, over the centuries, it has acted as a space for expression, exchange and debate regarding all manner of ideas, causes and struggles. Implicit within this process are processes of expression, creation and reception, by way of which people demonstrate, analyse and question ways of seeing and understanding life, and ways of being and existing in the world. This gives rise to educational, cultural, social and political potential, which has been endorsed in numerous studies and investigations. In this work, in which theoretical orientation is established through a review of the relevant literature, we consider different intersections that occur between theatre and social work in order to also show that dramatic and theatrical expression offers substantive methodologies for achieving some objectives of social work, particularly in areas such as critical literacy, reflexivity and recognition, awareness raising, social participation, personal and/or community development, ownership of cultural capital and access to personal and social wellbeing. Keywords: theatre, Social Work, literacy, awareness raising, participation.

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“…Critics take the works of both playwrights as political "because they work to counter prevalent capitalist values, within the theatre world, and society at large" (ibid). According to Elaine Aston, in the 1980s the "analysis of intra-sexual class oppression became a dominant feature of socialist-feminist playwrighting" in which the feminists had to deal with "a new oppressive factor: the 'Superwoman'" ( [14], p. 72). When Margret Thatcher was elected as Britain's first female prime minister, many women thought things were going to change for the better.…”

Section: Caryl Churchill and Politicsmentioning

confidence: 99%

“…As Rowbotham puts it, after Thatcher's election "the fact that women could become Prime Minister had a symbolic meaning; modern women, it seemed could do anything now" ( [7], p. 19). In addition, Thatcherite politics "promoted the image of the highflying female achiever who was capable of transcending class boundaries and of attaining material success at home and in the workplace" ( [14], p. 72). But not all women "were in a position to gain access to paid positions of power which would enable them to combine work and family life" (ibid).…”

Section: Caryl Churchill and Politicsmentioning

confidence: 99%

“…It should be noted that the word "top" in the play's title that implies middle and a bottom, reveals to be critical of social stratification and the hierarchical capitalist economy. In fact, as Aston puts it, Top Girls directly critiques "the 'Superwoman' ethos by demonstrating that the success of 'top girl' Marlene is achieved at the expense of oppressing her working-class sister Joyce" ( [14], p. 72).…”

Section: Caryl Churchill and Politicsmentioning

confidence: 99%

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Brechtian Epic Elements in Caryl Churchill’s Top Girls

Mahmoodi-Bakhtiari¹,

Beiraghi²

2016

OALib

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Since Aristotle's response to Plato's attack on poetic imitation as being twice removed from reality, the concept of mimesis has pervaded the drama. Aristotle's all arts, epic, tragic, comic and dithyrambic, regardless of their different media, subject matter, and manner of imitation, involve mimesis. Aristotle argued that mimesis provided fictional distance from the things being presented on stage, and allowed the audience to get emotionally involved leading them to catharsis, the purgation of emotions. In the mid-nineteenth century, mimetic representation became the core of the drama in a movement known as realism which presenting an illusion of reality by concentrating on human behavior, accurate settings, and natural speech. In the twentieth century, playwrights such as Bertolt Brecht started to oppose mimetic representation because they believed that it encouraged spectators to accept and conform to the dominant social conventions. In this article, the researcher traces Brechtian epic elements in Top Girls, Churchill's most acclaimed play, and examines the aspects in which she follows and/or deviates from Brecht. In this sense, the researcher explains some of Brecht's epic devices and then applies them to Churchill's Top Girls.

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An Introduction to Feminism and Theatre

Cited by 87 publications

References 0 publications

Feminisms in Pam Gems' Play Dusa, Fish, Stas and Vi

Feminisms in Pam Gems' Play Dusa, Fish, Stas and Vi

Trabajo Social y teatro: considerando las intersecciones

Brechtian Epic Elements in Caryl Churchill’s Top Girls

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