Contemporary Feminist Theatres: To Each Her Own

Contemporary Feminist Theatres: To Each Her Own

Contemporary Feminist Theatres: To Each Her Own

Contemporary Feminist Theatres: To Each Her Own


Contemporary Feminist Theatresis a major evaluation of the forms feminism has taken in the theatre since 1968. Lizbeth Goodman provides a provocative and interdisciplinary study of the development of feminist theatres in Britain. She examines the treatment of key issues such as gender, race, sexuality, language and power in performance.
Based on original research and fresh data, Contemporary Feminst Theatresis a fully comprehensive and admirably clear analysis of a flourishing field of practice and inquiry.


During the past two decades, the advent of feminist criticism has ensured that large numbers of previously unknown or forgotten women writers and artists have been recovered from the past and are now being read and recognized. The history of culture is in the process of being redrafted, as the input of hitherto unrecognized women has started to come under scrutiny and the whole concept of the Canon, already under attack from other quarters (Marxist criticism, New Historicism, Deconstruction) has been brought into question. In this ferment of critical activity, however, one area has been conspicuously absent until very recently: there has been remarkably little work on women's contribution to the history and development of theatre practice.

Gender in Performance is a new series which reflects the wide range of women's theatrical work past and present. It includes books that explore both historical and contemporary theatre, understanding performance as a cultural and political phenomenon. Key issues include conventions of representation, the politics of the theatre industry, performers' working conditions, the relationship between biography and performance changing interpretations of gender, and the intersections between feminism, feminist philosophy, and theatre practice. It offers new insights. into the contributions of women to theatre history and cultural studies.

Susan Bassnett

University of Warwick

Tracy C. Davis

Northwestern University

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