Materialist Girl: <i>The Good Person of Szechwan</i> and Making Gender Strange

Solomon, Alisa

doi:10.1215/01610775-25-2-42

Cited by 3 publications

(2 citation statements)

References 4 publications

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“…Authors such as Alisa Solomon (1994), Della Pollock (1989), Iris Smith (1991), Jill Dollan (2012), Elin Diamond (1988), Janelle Reinelt (1986;1996) and Sue Ellen Case (1983) recognize in the gestus-historicization-epic structure tripod a legacy that can be appropriated by theater makers and researchers, in a way that the thinker and playwright himself did not intend, such as the use of his theory as a model for feminist theater (Mumford, 1997). At the same time, despite the usefulness of Brechtian theory for defamilizing the social order and the social places assigned to the genders, the authors do not fail to observe in the German author's thought problems inherited from Marx and Engels' analysis of the role of women in class society, which Brecht updated, without largely solving 8 .…”

Section: Feminist Theaters As Ethos Of a Way-and-thoughtmentioning

confidence: 99%

The Feminist Scenics: theorizations about science and practice of the feminist theater scene and the space and importance of feminist epistemologies in the theatrical field

Romano

2024

Rev. Bras. Estud. Presença

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The Feminist Scenics: theorizations about science and practice of the feminist theater scene and the space and importance of feminist epistemologies in the theatrical field1 – This article describes a feminist scenic, resulting from the application of feminist epistemologies to theater, synthesizing the criticism they make of the canonical demarcations linked to the act of knowing, which contribute to the invalidation of women's experience. Its way of functioning is associated with the awareness of gender hierarchies, to which it reacts through the formulation of poetic and political strategies to confront discriminatory and sexist social models and their symbolic supports. It is concluded that this feminist scenic finds centrality in pedagogy, where emancipatory forms of knowledge and territories of resistance and creation emerge, which give new meaning to being.

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Section: Feminist Theaters As Ethos Of a Way-and-thoughtmentioning

confidence: 99%

The Feminist Scenics: theorizations about science and practice of the feminist theater scene and the space and importance of feminist epistemologies in the theatrical field

Romano

2024

Rev. Bras. Estud. Presença

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“…Autoras como Alisa Solomon (1994), Della Pollock (1989), Iris Smith (1991), Jill Dollan (2012), Elin Diamond (1988), Janelle Reinelt (1986;1996) e Sue Ellen Case (1983) reconhecem no tripé gestus-historicizaçãoestrutura épica um legado que pode ser apropriado pelas fazedoras e pesquisadoras de teatro, de uma forma que o próprio pensador e dramaturgo não objetivou; como é o caso do emprego da sua teoria como modelo do teatro feminista (Mumford, 1997). Ao mesmo tempo, apesar da utilidade da teoria brechtiana para a desfamilizarização da ordem social e dos lugares sociais Lúcia Regina Vieira Romano -A Cênica Feminista: teorizações sobre a ciência e a prática da cena teatral feministas e a importância de uma pedagogia feminista no campo teatral Rev.…”

Section: Teatros Feministas Como Ethos De Um Modo-pensamentounclassified

A Cênica Feminista: teorizações sobre a ciência e a prática da cena teatral feministas e a importância de uma pedagogia feminista no campo teatral

Romano

2024

Rev. Bras. Estud. Presença

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RESUMO A Cênica Feminista: teorizações sobre a ciência e a prática da cena teatral feministas e a importância de uma pedagogia feminista no campo teatral1 – Este artigo teoriza sobre uma cênica feminista, resultante da aplicação ao teatro das epistemologias feministas, sintetizando a crítica que fazem às demarcações canônicas atreladas ao ato de conhecer, que contribuem para a desvalidação da experiência das mulheres. Associa-se seu modo de funcionamento à consciência das hierarquias de gênero, às quais reage por meio da formulação de estratégias poéticas e políticas de enfrentamento aos modelos sociais discriminatórios e sexistas e aos seus sustentáculos simbólicos. Conclui-se que essa cênica feminista encontra centralidade na pedagogia, onde emergem formas de saber emancipatórias e territórios de resistência e criação, que ressignificam o ser.

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Reclaiming Cross-Dressing: Masculinity Construction in the All-Female Yue Opera’s Shakespearean Adaptations

2024

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Because it offers the stage such scope for polyerotic interpretation, crossdressing has held an irresistible appeal to theatre practitioners across times and cultures, including Shakespeare in early modern England. The Shakespearean cross-dressing theatre, however, has long excited critical disapprobation as a cultural form which excluded women. However, can cross-dressing as a theatrical device be reclaimed by women as an alternative mode of Shakespearean performance? What academic and practical significance can a reversed, all-female casting of Shakespearean production offer? This paper will argue that the Chinese Yue opera’s Shakespeare adaptations may shed light on how gender impersonation can be used to express women’s wishes and desires. As the second largest Chinese opera genre, Yue opera is a theatreform in which all roles are played by actresses for a predominantly female audience. Interestingly, Shakespeare is also Yue opera’s most adapted foreign playwright. General Ma Long (2001, an adaptation of Macbeth) and Coriolanus and Duliniang (2016, an adaptation of Coriolanus) are two representative specimens of Yue opera Shakespearean adaptations with all-female casting. The male protagonists of both are played by cross-dressed actresses. How do Yue opera female performers, whose style is generally perceived as soft and feminine, stage the Shakespearean war heroes famous for their bloodthirsty masculinity? Deploying a theoretical framework based on Judith Butler’s gender performativity theory and Bertolt Brecht’s account of the epic theatre, this essay aims to examine the masculinity construction in the all-female Yue opera Shakespearean adaptations, in order to open a discussion of how cross-dressing can be used to deconstruct and reassemble gender norms.

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Materialist Girl: The Good Person of Szechwan and Making Gender Strange

Cited by 3 publications

References 4 publications

The Feminist Scenics: theorizations about science and practice of the feminist theater scene and the space and importance of feminist epistemologies in the theatrical field

The Feminist Scenics: theorizations about science and practice of the feminist theater scene and the space and importance of feminist epistemologies in the theatrical field

A Cênica Feminista: teorizações sobre a ciência e a prática da cena teatral feministas e a importância de uma pedagogia feminista no campo teatral

Reclaiming Cross-Dressing: Masculinity Construction in the All-Female Yue Opera’s Shakespearean Adaptations

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