By Elaine Aston
Operating via a generational mixture of writers, from Sarah Kane, the iconoclastic "bad woman" of the level, to the "canonical" Caryl Churchill, Elaine Aston charts the numerous political and aesthetic adjustments in women's playwriting on the finish of the 20 th century. Aston additionally explores "new" writing for the Nineties in theater by means of Sarah Daniels, Bryony Lavery, Phyllis Nagy, Winsome Pinnock, Rebecca Prichard, Judy Upton and Timberlake Wertenbaker.
Read Online or Download Feminist Views on the English Stage: Women Playwrights, 1990-2000 PDF
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Extra resources for Feminist Views on the English Stage: Women Playwrights, 1990-2000
My own experience is one to be found in the countless stories of other working mothers from this time; the post-1980s stress of having to combine parenting with paid work. 22 Hard as this was for women in professional jobs, like myself, it was signiﬁcantly harder for those women with low-income jobs for whom child care was simply not affordable. Moreover, ‘buying’ into a 1980s vision of female ‘success’ had not addressed the relative impoverishment of the lives of young working-class women and Angie’s nightmare vision had, by the 1990s, 25 feminist views on the english stage become a social reality.
Philosophical, socialist and feminist writings that inﬂuenced her thinking and theatre-making variously include works 18 Telling feminist tales: Caryl Churchill by Michel Foucault, Franz Fanon, Hannah Arendt and Kate Millett. Foucault especially has been important to her desire to make sense of contemporary culture and social systems through historical perspectives. Moreover, what makes her playwriting so distinctive is the way in which her socialist and feminist politics are not just a matter of content, but also of theatrical form: the political is as much a ‘subject’ of her theatrical apparatus as it is of her dramatic content.
257). Instead, s/he is forced to live through centuries of man-made ‘history’. 40 In human guise, the Skriker acts out the roles of the Freudian ‘family romance’: appearing as child (needy for a mother), the ‘prince’ or would-be lover and father, or fairy (god)mother (who 30 Telling feminist tales: Caryl Churchill grants dangerous wishes). But the disguises slip and the spirit body is never far out of sight. Similarly, other human ﬁgures in the play are haunted or doubled by spirit bodies: businessmen have Thrumpins riding on their backs, without knowing they are there.
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