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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... atthe Chestnut Street Theatre in Philadelphia 1795 Judith Sargent Murray's Virtue Triumphant; this and other Murray plays are produced by Boston's Federal Street Theatre, which Murray herself helped establish 1796 Judith Sargent ...
... atthe Chestnut Street Theatre in Philadelphia 1795 Judith Sargent Murray's Virtue Triumphant; this and other Murray plays are produced by Boston's Federal Street Theatre, which Murray herself helped establish 1796 Judith Sargent ...
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... atthe Bowery Theatre; Medina isthe BoweryTheatre's house playwright 1840 First use of the term “vaudeville” in the United States 1843 First recordedmatinee performance in New York 1845 Anna Cora Mowatt's Fashion; is reviewed twice by ...
... atthe Bowery Theatre; Medina isthe BoweryTheatre's house playwright 1840 First use of the term “vaudeville” in the United States 1843 First recordedmatinee performance in New York 1845 Anna Cora Mowatt's Fashion; is reviewed twice by ...
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... at the Myrtill Minor School in Washington; Rachel challenges the stereotypical andracist visions ofAfricanAmericans promoted by the film Birthof aNation (1915) 1916 Susan Glaspell's Trifles Clare Kummer's Good Gracious, Annabelle 1917 ...
... at the Myrtill Minor School in Washington; Rachel challenges the stereotypical andracist visions ofAfricanAmericans promoted by the film Birthof aNation (1915) 1916 Susan Glaspell's Trifles Clare Kummer's Good Gracious, Annabelle 1917 ...
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... atthe same timeasthe Harlem Renaissance; the Little Theatre Movement was intendedto create amateur, communitybased theatres thatwould be able toproduce plays, especiallyoneacts, inexpensively 1920 A patent isgranted fora counterweighted ...
... atthe same timeasthe Harlem Renaissance; the Little Theatre Movement was intendedto create amateur, communitybased theatres thatwould be able toproduce plays, especiallyoneacts, inexpensively 1920 A patent isgranted fora counterweighted ...
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... at the Cleveland Stadium marksthe first professional production of a black opera Zora Neale Hurston createsand performs TheGreat Day,the firstof three musical programsofNegro folklore;FromSun toSun and Singing Steelfollow in1933 and ...
... at the Cleveland Stadium marksthe first professional production of a black opera Zora Neale Hurston createsand performs TheGreat Day,the firstof three musical programsofNegro folklore;FromSun toSun and Singing Steelfollow in1933 and ...
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 | |
Términos y frases comunes
Adrienne Kennedy African American African American women Alice Childress American Drama American theatre American women playwrights andher andthe artists asthe atthe audience Beth Henley black women Broadway bythe Cambridge Companion career century characters comedy Contemporary critics culture domestic dramatists edited expressionist Fefu female feminism Fornes fromthe gender Georgia Douglas Georgia Douglas Johnson Girls Glaspell Grimké Hansberry Hansberry’s Harlem Renaissance Heidi Heidi Chronicles Henley’s Howe’s Hurston husband inthe Johnson Kennedy’s Lillian Hellman Lorraine Hansberry Lyssa male Man’s World marriage Marsha Marsha Norman melodrama Miller modern modernist mother movement Negro NewYork nineteenthcentury Norman Ntozake ofher ofthe oneact onthe patriarchal performances play play’s playwriting political produced Rachel Crothers ratherthan realism role Rowson scene Shange Shange’s Simone social Sophie Treadwell stage Susan Glaspell Susan Glaspell’s Terry’s thatthe theatrical theNew theplay tothe traditional Treadwell Treadwell’s University Wasserstein Wendy Wendy Wasserstein withher withthe woman writing York