Download Re)Constructing Maternal Performance in Twentieth-Century by L. Bailey McDaniel PDF

By L. Bailey McDaniel

Looking at a century of yankee theatre, McDaniel investigates how racially-informed notions of motherhood develop into websites of resistance to social and political hierarchies. (Re)Constructing Maternal functionality in Twentieth-Century Drama locates a extensive culture of 'counter maternities', politically resistant performances that have interaction essentialist identities. whereas resituating motherhood as a task now not consistently tied to organic gender, McDaniel employs a technique knowledgeable through cultural, gender, and theatre reports and considers how the development of mothering as universally women's paintings obscures extra, marginalizing identities established in race and class.

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Additional info for Re)Constructing Maternal Performance in Twentieth-Century American Drama (What Is Theatre?

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51 According to the playwright herself then, Crothers work aims in general to comment on universal/universalizing issues rather than the gender-specific ones. ” Nevertheless, with a multidecade body of work that invariably interrogates women’s lives—even if those explorations only sometimes worked from a more progressive lens—both Crothers’ performance texts and her place in what was a male-dominated universe of mainstream theatre is noteworthy, to say the least. ”53 Canning’s broader discussion focuses on the theatre of second-wave feminism, but her contention is telling with regard to Crothers’ early career and subsequent successes.

Said another way, could a Rachel Crothers’ discussion play facilitate “a kind of anger” or garner momentum toward a “shared political cause” among it spectators that would eventually manifest social change? As did so many of her feminist contemporaries, Crothers chronicled and interrogated topics such as the double standard regarding women’s sexuality, the private and public obstacles to women’s professional ambition and accomplishments, changing understandings of motherhood and divorce. But from the playwright’s very own description, characterizing Crothers as an overt political force for women (based on the play texts alone, certainly) is a complicated enterprise.

Nevertheless, with a multidecade body of work that invariably interrogates women’s lives—even if those explorations only sometimes worked from a more progressive lens—both Crothers’ performance texts and her place in what was a male-dominated universe of mainstream theatre is noteworthy, to say the least. ”53 Canning’s broader discussion focuses on the theatre of second-wave feminism, but her contention is telling with regard to Crothers’ early career and subsequent successes. ”54 Before determining if Crothers establishes a “different way of working” from the patterns created by her usually male predecessors, consider the landscape of a still developing American theatre, to the degree such a thing existed, during her emergence in New York.

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