The Cambridge Companion to American Women PlaywrightsBrenda Murphy Cambridge University Press, 1999 M06 28 This volume addresses the work of women playwrights throughout the history of the American theatre, from the early pioneers to contemporary feminists. Each chapter introduces the reader to the work of one or more playwrights and to a way of thinking about plays. Together they cover significant writers such as Rachel Crothers, Susan Glaspell, Lillian Hellman, Sophie Treadwell, Lorraine Hansberry, Alice Childress, Megan Terry, Ntozake Shange, Adrienne Kennedy, Wendy Wasserstein, Marsha Norman, Beth Henley and Maria Irene Fornes. Playwrights are discussed in the context of topics such as early comedy and melodrama, feminism and realism, the Harlem Renaissance, the feminist resurgence of the 1970s and feminist dramatic theory. A detailed chronology and illustrations enhance the volume, which also includes bibliographical essays on recent criticism and on African-American women playwrights before 1930. |
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... roles and will be the first woman playwright towin a TonyAward 1951 Lillian Hellman's The Autumn Garden Paula Vogelborn; Vogel's plays will focus on the nontraditional family, andsocialissues suchasAIDS,domestic violence, sexual abuse ...
... roles and will be the first woman playwright towin a TonyAward 1951 Lillian Hellman's The Autumn Garden Paula Vogelborn; Vogel's plays will focus on the nontraditional family, andsocialissues suchasAIDS,domestic violence, sexual abuse ...
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... roles and compulsory heterosexuality Beth Henley's first play Crimes of the Heart earns her a Pulitzer Prize and a New York Drama Critics Circle Award Emily Mann wins an Obie for StillLife Ntozake Shange's adaptationof Brecht's ...
... roles and compulsory heterosexuality Beth Henley's first play Crimes of the Heart earns her a Pulitzer Prize and a New York Drama Critics Circle Award Emily Mann wins an Obie for StillLife Ntozake Shange's adaptationof Brecht's ...
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... role, or made fun of both, cannot be known today. Nevertheless, this epilogue speaks on several levels about the potential power of women, the rights they might lay claim to, and the roles they might perform in the new nation ...
... role, or made fun of both, cannot be known today. Nevertheless, this epilogue speaks on several levels about the potential power of women, the rights they might lay claim to, and the roles they might perform in the new nation ...
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... role reversal, as when Ben Hassan, dressed as a woman to attempt escape, becomes the ridiculous object of pursuit by a drunkensailor. The plays further revise comic form intheir endings.Rather than emphasizing marriage or marriages ...
... role reversal, as when Ben Hassan, dressed as a woman to attempt escape, becomes the ridiculous object of pursuit by a drunkensailor. The plays further revise comic form intheir endings.Rather than emphasizing marriage or marriages ...
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Brenda Murphy. political role as that of the “republican mother” (see Kerber, “Republican Mother”). These plays, however, seize upon the most independent, assertive, and socially active elements in the construct of the republican mother ...
Brenda Murphy. political role as that of the “republican mother” (see Kerber, “Republican Mother”). These plays, however, seize upon the most independent, assertive, and socially active elements in the construct of the republican mother ...
Contenido
Susan Glaspell and modernism | |
Sophie Treadwell | |
feminism formalism and politics | |
African American women playwrights | |
Feminist theory and contemporary drama | |
Feminist theatre of the seventiesin the United States | |
Contemporary playwrightstraditional forms | |
a feminist voice from the seventies to the present | |
Further reading 14 Contemporary American women playwrights a brief survey of selected | |
Works cited | |
thecareer of Rachel Crothers | |
The Harlem Renaissance and the New Negro Movement | |
Index | |
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The Cambridge Companion to American Women Playwrights Brenda Murphy Sin vista previa disponible - 1999 |
Términos y frases comunes
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