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This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
In 'Heroines of the Modern Stage' by Forrest Izard, the author delves into the portrayal of female characters in modern theater, examining their roles, complexities, and impact on the stage. Izard's analytical approach to the literary and social significance of these heroines offers readers a thought-provoking exploration of gender dynamics and representation in contemporary plays. Through detailed character studies and nuanced interpretations, Izard sheds light on the evolution of women's roles in theater, highlighting the power and agency of these heroines in shaping narratives and challenging societal norms. Drawing on a range of dramatic works, from classic plays to avant-garde productions, Izard demonstrates the enduring relevance of these strong and multifaceted characters in the modern theatrical landscape. Forrest Izard, a renowned theater scholar and critic, brings a wealth of knowledge and expertise to 'Heroines of the Modern Stage'. His deep understanding of dramatic literature and feminist theory enriches the book's insightful analysis, offering readers a comprehensive study of female representation in contemporary theater. This insightful and meticulously researched book is a must-read for theater enthusiasts, academics, and anyone interested in the intersection of gender, performance, and culture.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This book brings together nearly 40 academics and theatre practitioners to chronicle and celebrate the courage, determination and achievements of women on stage across the ages and around the globe. The collection stretches from ancient Greece to present-day Australasia via the United States, Soviet Russia, Europe, India, South Africa and Japan, offering a series of analytical snapshots of women performers, their work and the conditions in which they produced it. Individual chapters provide in-depth consideration of specific moments in time and geography while the volume as a whole and its juxtapositions stimulate consideration of the bigger picture, underlining the challenges women have faced across cultures in establishing themselves as performers and the range of ways in which they gained access to the stage. Organised chronologically, the volume looks not just to the past but the future: it challenges the very notions of ‘history’, ‘stage’ and even the definition of ‘women’ itself.
Queer Virgins and Virgin Queans looks at the early modern theater through the lens of obscure and obscene puns--especially "queer" puns, those that carry homoerotic resonances and speak to homoerotic desires. In particular, it resurrects the operations of a small boys' company known as the first Whitefriars, which performed for about nine months in 1607-8. As a group, the plays performed by this company exhibit an unusually dense array of bawdy puns, whose eroticism is extremely interesting, given that the focus of eros is the male body. The laughter recoverable from Whitefriars plays harnesses the pun's inherent doubleness to homoerotic pleasure; in these plays, 'the bawdy hand of the dial' is always 'on the pricke of noone'. Mary Bly's analysis depends on the nature of punning itself, and the inflections of language and the creativity that marked Whitefriars punsters, with special emphasis on the effect of puns on an audience. What happens to audience members who sit shoulder to shoulder and laugh at homoerotic quibbles? What is the effect of catching a queer pun's double meaning in a group rather than while alone? How can we characterize those auditors, within the convoluted, if fascinating, theories of erotic identity offered by queer theorists?
The Diva's Gift traces the far-reaching impact of the first female stars on the playwrights and players of the all-male stage. When Shakespeare entered the scene, women had been acting in Italian troupes for two decades, traveling in Italy and beyond and performing in all genres, including tragedy. The ambitious actress reinvented the innamorata, making her more charismatic and autonomous, thrilling audiences with her skills. Despite fervent attacks, some actresses became the first international stars, winning royal and noble patrons and literary admirers in France and Spain. After Elizabeth and her court caught wind of their success in Paris, Italian troupes with actresses crossed the Channel to perform. The Italians' repeat visits and growing fame posed a radical challenge to English professionals just as they were building their first paying theaters. Some writers treated the actress as a whorish threat to their stage, which had long minimized female roles. Others saw a vital new model full of promise. Lyly, Marlowe, and Kyd endowed innamorata parts with hot-blooded, racialized passions, but made them self-aware agents, not counters traded between men. Shakespeare, Jonson, Webster and others followed, ringing changes on the new type in comedy, tragedy, and romance. Like the comici they recycled actress-linked theatergrams and star scenes, such as cross-dressing, the mad scene, and the sung lament. In this way, the diva's prodigious virtuosity and stardom altered the horizons of playmaking even on the womanless stage. Capitalizing on the talents of boy players, the best playwrights created bold new roles endowed with her alien glamour, such as Lyly's Sapho and Pandora, Marlowe's Dido, Kyd's Bel-Imperia, Webster's Vittoria, and Shakespeare's Beatrice, Viola, Portia, Juliet, and Ophelia. Cleopatra is not alone in her superb theatricality and dazzling strangeness. As this book demonstrates, the diva's gifts mark them all.
This New Mermaids anthology brings together four plays which centre around female characters on stage: A Woman Killed With Kindness (Thomas Heywood); The Tamer Tamed (John Fletcher); The Duchess of Malfi (John Webster) and The Witch of Edmonton (William Rowley, Thomas Dekker and John Ford) with a new introduction by leading scholar Emma Smith. A Woman Killed with Kindness is a domestic tragedy of property and marriage, adultery and revenge, and strips bare two women's lives in one of the first tragedies ever to be written about ordinary people. The Tamer Tamed is a free-wheeling and witty comedy in which the place and status of women, and the nature of marriage, are subjected to sustained attention, demonstrating one way in which early modern writers were able to challenge and invert social convention, and to at least imagine alternative modes of behaviour. The Duchess of Malfi is a classic revenge tragedy and masterpiece of the Jacobean bizarre, featuring a severed hand, a wolf-man, and a poisoned Bible. The Witch of Edmonton is a domestic tragedy in which Elizabeth Sawyer sells her soul to the Devil to revenge her neighbours. These four early modern plays plays upset old certainties about gender ideology: less 'chaste, silent and obedient' and more diverse, eloquent, and complex.