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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... others –for example,when Camden hastrouble extricating himself froma presumed commitment to Harriot, even though neither loves the other. Some plays show comic role reversal, as when Ben Hassan, dressed as a woman to attempt escape ...
... others –for example,when Camden hastrouble extricating himself froma presumed commitment to Harriot, even though neither loves the other. Some plays show comic role reversal, as when Ben Hassan, dressed as a woman to attempt escape ...
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... other twentiethcentury forms. The history melodrama agenre first of the as is fairly clear. The play to be called a melodramawas produced in France in 1800 by René Pixérécourt,and the formwasbrought to England byThomas Holcroft when he ...
... other twentiethcentury forms. The history melodrama agenre first of the as is fairly clear. The play to be called a melodramawas produced in France in 1800 by René Pixérécourt,and the formwasbrought to England byThomas Holcroft when he ...
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... others drawn from popular music oftheday. Camptown Racesisan example of apopular song that wassimply appropriated bya ... other cases, heroines remain are truetothe values oftheir culture and denied a happy ending. InLouisa Medina's Nick ...
... others drawn from popular music oftheday. Camptown Racesisan example of apopular song that wassimply appropriated bya ... other cases, heroines remain are truetothe values oftheir culture and denied a happy ending. InLouisa Medina's Nick ...
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... Other factors also complicatethe process of attributing workto women authors. Anyone could adaptanovel for thestage,and many versions of certainstories existed, making it difficultto determine who wrote what, wherecertain and versions ...
... Other factors also complicatethe process of attributing workto women authors. Anyone could adaptanovel for thestage,and many versions of certainstories existed, making it difficultto determine who wrote what, wherecertain and versions ...
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... is undisputed, but whetheror not the play received a production is unknown. Nonetheless, itis the earliest known melodrama writtenbyan American womanandthe text does survive. Her other melodrama, Sara Maria Cornell; or The.
... is undisputed, but whetheror not the play received a production is unknown. Nonetheless, itis the earliest known melodrama writtenbyan American womanandthe text does survive. Her other melodrama, Sara Maria Cornell; or The.
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