"An authoritative guide to contemporary debates and practices at a time when gender paradigms are both in flux and at the centre of explosive political battlegrounds. The volume examines how critical discourses on gender intersect with key debates in thefield of theatre studies, as a lens to illuminate the practices of gender and theatre as well as the societies they inform and represent across space and time. Featuring a series of essential research tools, including a list of resources and an annotatedbibliography of key texts, this is an indispensable scholarly handbook for anyone working in theatre and performance"--
This is a guide to contemporary debates and theatre practices at a time when gender paradigms are both in flux and at the centre of explosive political battlegrounds.
The confluence of gender and theatre has long created intense debate about representation, identification, social conditioning, desire, embodiment, and lived experience. As this handbook demonstrates, from the conventions of early modern English, Chinese, Japanese and Hispanic theatres to the subversion of racialized binaries of masculinity and femininity in recent North American, African, Asian, Caribbean and European productions, the matter of gender has consistently taken centre stage. This handbook examines how critical discourses on gender intersect with key debates in the field of theatre studies, as a lens to illuminate the practices of gender and theatre as well as the societies they inform and represent across space and time.
Of interest to scholars in the interrelated areas of feminist, gender and sexuality studies, theatre and performance studies, cultural studies, and globalization and diasporic studies, this book demonstrates how researchers are currently addressing theatre about gender issues and gendered theatre practices. While synthesizing and summarizing foundational and evolving debates from a contemporary perspective, this collection offers interpretations and analyses that do not simply look back at existing scholarship, but open up new possibilities and understandings.
Featuring essential research tools, including a survey of keywords and an annotated play list, this is an indispensable scholarly handbook for anyone working in theatre and performance.
Recenzijos
This elegantly conceptualized volume assembles a robust constellation of national, transnational, and regional case studies that, with dazzling interdisciplinarity, deftly chart the constancy of gendered structural violence within theatre practice and across theatrical cultures. An invaluable and timely resource for scholars, teachers, and practitioners. * Brian Eugenio Herrera, Princeton University, USA * A major work that deserves to be read by the longest possible range of readers in the world, since it combines theatre, sociology and anthropology. * Sinais de Cena *
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Short-listed for The TaPRA Edited Collection Prize 2024 (UK).This wide-ranging handbook examines how critical discourses on gender intersect with key debates in the field of theatre studies.
List of Illustrations
List of Contributors
About this Book
Acknowledgements
PART 1: ORIENTATIONS AND REORIENTATIONS
1.i. Introduction: Gender and Theatre, Sean Metzger (UCLA, USA) and
Roberta Mock (Royal Holloway, University of London, UK)
1.ii. Keywords: Gender, Trans, and Intersectionality, Carla Neuss
(Baylor University, USA)
1.iii. Framing Theatre and Gender through Indigenous Performance
Practices: A Roundtable, Tammy Hailiopua Baker (Writer and Director of Ka
Halau Hanakeaka, Hawaii), Leslie Ishii, (Artistic director of Perseverance
Theatre, Alaska) and Hanay Geiogamah (Founder of the American Indian Dance
Theatre), with Sean Metzger and Roberta Mock
1.iv. Gender as Method: Brecht, Mao, and Objects of History, Hentyle Yapp
(UC San Diego, USA)
PART 2: GEOPOLITICS AND BIOPOLITICS
2.i. Introduction to Part 2, Sean Metzger (UCLA, USA) and Roberta Mock
(Royal Holloway, University of London, UK)
2.ii. Disobedient Women and Theatre Historiography in India, Swati Arora
(Queen Mary, University of London, UK)
2.iii. Gender Politics in the Cabaret Theatre of Jesusa Rodrķguez and
Astrid Hadad, Analola Santana (Dartmouth College, USA)
2.iv. Afro/Caribbean Crossings: Gaėl Octavia, Guy Régis Jr, and
Sex/Gender/Theatre Work with Heteroimperiality, Christian Flaugh (SUNY
University at Buffalo, USA)
2.v. The Intersectional Politics of Nakkiah Luis Blackie Blackie Brown
and How to Rule the World, Sarah French (University of Melbourne,
Austrailia) and Sandra DUrso (Independent scholar, Australia)
2.vi. Uncanny Masculinity: Disrupting White Male Privilege in Two
Contemporary Canadian Plays, Peter Kuling (University of Guelph, Canada) and
Kim Solga (Western University, Canada)
2.vii. False Bound Feet and Forged Paintings: Propping up Gender in
Early Modern Chinese Theatre, S. E. Kile (University of Michigan, USA)
2.viii. Schrödingers Pussy: Slave Actors and Fluid Desire in Early
Roman Comedy, Amy Richlin (UCLA, USA)
PART 3: TRANSMEDIA
3.i. Introduction to Part 3, Sean Metzger (UCLA, USA) Roberta Mock (Royal
Holloway, University of London, UK)
3.ii. Dead Girl Walking: Girlhood and Happy-Endings in Heathers: The
Musical, Joanne Bob Whalley (University of the Arts London, UK) and Lee
Miller (Falmouth University, UK)
3.iii. Theatrical Transing and the Virtuosic Self, Lazlo Pearlman (Santa
Clara University, USA)
3.iv. Stage Body, Stage Gender: Kabuki Actors and Print Identity in
Early Modern Japan (1600-1868), Satoko Shimazaki (UCLA, USA and Waseda
University, Japan)
3.v. Gender Performance, Sexual Play, and Early Modern Holiday Games,
Erika Lin (Graduate Center, CUNY, USA)
3.vi. Whos Invited to the Cookout?: The Spectralization of Black
Women in Theatre and New Media, Kimberly Chantal Welch (UCLA, USA)
3.vii. Cultural Genitals and the Emancipated Fembot: Performing Gender,
Race, and Technology in Cyborg Theatre, Evelyn Wan (Utrecht University, the
Netherlands)
PART 4: GENRE AND THEATRICAL FORM
4.i. Introduction to Part 4, Sean Metzger (UCLA, USA) Roberta Mock (Royal
Holloway, University of London, UK)
4.ii. Rethinking Gender in the Hispanic Comedia, Barbara Fuchs (UCLA,
USA)
4.iii. Post-Folkloric Drag: México de Colores and the Theatricalization
of Gender, Enzo E. Vasquez Toral (University of Texas at Austin, USA)
4.iv. Staging Femme Excess in the Work of Lucy McCormick, Selina
Thompson, and Travis Alabanza, Sarah Gorman (Roehampton University, UK) and
Roberta Mock (Royal Holloway, University of London, UK)
4.v. Performing Vulnerable Masculinity in Northern Irelands
Post-Conflict Documentary Theatre, Lisa Fitzpatrick (Ulster University in
Derry, UK)
4.vi. Becoming Afriqueer: Conjuring Alternative Masculinities Through
Site-Specific Performance, April Sizemore-Barber (Georgetown University,
USA)
4.vii. Towards a Trans Theatre, Sylvan Oswald (UCLA, USA)
PART 5: RESOURCES AND BACK MATTER
5.i. Annotated Play Lists, Devon Baur (UCLA, USA) and Elizabeth
Schiffler (UCLA, USA)
Index
Sean Metzger is Professor and the Associate Dean for Faculty and Students in the UCLA School of Theater, Film, and Television, USA.
Roberta Mock is Professor of Performance and Executive Dean of the School of Performing and Digital Arts at Royal Holloway, University of London, UK.
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