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Short description/annotation
Penny Farfan examines the role of women in the history of modernist theatre.
Main description
Women, Modernism, and Performance is an interdisciplinary study that looks at a variety of texts and modes of performance in order to clarify the position of women within - and in relation to - modern theatre history. Considering drama, fiction, and dance, as well as a range of performance events such as suffrage demonstrations, lectures, and legal trials, Penny Farfan expands on theatre historical narratives that note the centrality of female characters in male-authored modern plays but that do not address the efforts of women artists to develop alternatives both to mainstream theatre practice and to the patriarchal avant garde. Focusing on Henrik Ibsen, Elizabeth Robins, Ellen Terry, Virginia Woolf, Djuna Barnes, Edith Craig, Radclyffe Hall, and Isadora Duncan, Farfan identifies different objectives, strategies, possibilities, and limitations of feminist-modernist performance practice and suggests how the artists in question transformed the representation of gender in art and life.
Table of contents:
Introduction: women, modernism, and performance; 1. From Hedda Gabler to Votes for Women: Elizabeth Robins's Early Feminist Critique of Ibsen; 2. Feminist Shakespeare: Ellen Terry's comic ideal; 3. Unimagined parts, unlived selves: Virginia Woolf on Ellen Terry and the art of acting; 4. Staging the Ob/scene; 5. Writing/performing: Virginia Woolf between the acts; 6. Feminism, tragedy, history: the fate of Isadora Duncan; Conclusion.
Penny Farfan examines the role of women in the history of modernist theatre.
Main description
Women, Modernism, and Performance is an interdisciplinary study that looks at a variety of texts and modes of performance in order to clarify the position of women within - and in relation to - modern theatre history. Considering drama, fiction, and dance, as well as a range of performance events such as suffrage demonstrations, lectures, and legal trials, Penny Farfan expands on theatre historical narratives that note the centrality of female characters in male-authored modern plays but that do not address the efforts of women artists to develop alternatives both to mainstream theatre practice and to the patriarchal avant garde. Focusing on Henrik Ibsen, Elizabeth Robins, Ellen Terry, Virginia Woolf, Djuna Barnes, Edith Craig, Radclyffe Hall, and Isadora Duncan, Farfan identifies different objectives, strategies, possibilities, and limitations of feminist-modernist performance practice and suggests how the artists in question transformed the representation of gender in art and life.
Table of contents:
Introduction: women, modernism, and performance; 1. From Hedda Gabler to Votes for Women: Elizabeth Robins's Early Feminist Critique of Ibsen; 2. Feminist Shakespeare: Ellen Terry's comic ideal; 3. Unimagined parts, unlived selves: Virginia Woolf on Ellen Terry and the art of acting; 4. Staging the Ob/scene; 5. Writing/performing: Virginia Woolf between the acts; 6. Feminism, tragedy, history: the fate of Isadora Duncan; Conclusion.