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In this collection of interviews, 30 women discuss some of the important issues in theater today: the position of women in the theater, gender bias in reviewing, censorship and self-censorship, racism, and women writing about domestic violence, birth and other taboo subjects. They also deal with the idea of a female aesthetic, the sources of women dramatists' imagery and language, their place as women playwrights in the tradition of women's writing. These playwrights reflect a complex, resonant impulse to illuminate the varied spectrum of female experience, and also cherish daring, innovative, challenging political plays that represent a successful rebellion against their own censorial impulses. The interviewees cover a wide spectrum of American, British, and international playwrights, including Marsha Norman and Beth Henley, Emily Mann, Caryl Churchill, Ntozake Shange, and China's woman dramatist Madame Bai Fengxi. ISBN 0-688-04405-0: $25.00.
In this collection of interviews, 30 women discuss some of the important issues in theater today: the position of women in the theater, gender bias in reviewing, censorship and self-censorship, racism, and women writing about domestic violence, birth and other taboo subjects. They also deal with the idea of a female aesthetic, the sources of women dramatists' imagery and language, their place as women playwrights in the tradition of women's writing. These playwrights reflect a complex, resonant impulse to illuminate the varied spectrum of female experience, and also cherish daring, innovative, challenging political plays that represent a successful rebellion against their own censorial impulses. The interviewees cover a wide spectrum of American, British, and international playwrights, including Marsha Norman and Beth Henley, Emily Mann, Caryl Churchill, Ntozake Shange, and China's woman dramatist Madame Bai Fengxi. ISBN 0-688-04405-0: $25.00.
Breaking new ground in this century, this wide-ranging collection of essays is the first of its kind to address the work of contemporary international women playwrights. The book considers the work of established playwrights such as Caryl Churchill, Marie Clements, Lara Foot-Newton, Maria Irene Fornes, Sarah Kane, Lisa Kron, Young Jean Lee, Lynn Nottage, Suzan-Lori Parks, Djanet Sears, Caridad Svich, and Judith Thompson, but it also foregrounds important plays by many emerging writers. Divided into three sections-Histories, Conflicts, and Genres-the book explores such topics as the feminist history play, solo performance, transcultural dramaturgies, the identity play, the gendered terrain of war, and eco-drama, and encompasses work from the United States, Canada, Latin America, Oceania, South Africa, Egypt, and the United Kingdom. With contributions from leading international scholars and an introductory overview of the concerns and challenges facing women playwrights in this new century, Contemporary Women Playwrights explores the diversity and power of women's playwriting since 1990, highlighting key voices and examining crucial critical and theoretical developments within the field.
Explores how women playwrights illuminate the contemporary world and contribute to its reshaping
Book DescriptionIn this collection of 25 interviews, theater critic Alexis Greene talks with women who write plays for the American stage. She explores topics such as cultural background, playwriting style, the challenges of sustaining a career, and the relationship between life and art. These in-depth conversations provide unique insights into the work, thought processes, and personalities of an extraordinary group of writers. About the AuthorAlexis Greene is chief drama critic for In Theater magazine. Prior to that she was theater critic for Theater on Ms. Taymor's book, Pride Rock: The Lion King on Broadway (Hyperion). Ms. Greene is co-founder of the national service organization Literary Managers and Dramaturgs of the Americas (LMDA) and has taught theater at Hunter College, Vassar College, and New York University. She holds a Ph.D. in Theatre Criticism from the Graduate Center of the City University of New York.Week magazine. Recently she collaborated with Julie Taymor.
Meet Diane, a permaculture gardener dripping with butch charm. She’s got supernatural abilities owing to her true identity—the Greek god Dionysus—and shes returned to the modern world to gather mortal followers and restore the Earth to its natural state. Where better to begin than with four housewives in a suburban New Jersey cul-de-sac? In this Obie-winning comedy with a twist, Pulitzer Prize finalist Madeleine George pens a hilarious evisceration of the blind eye we all turn to climate change and the bacchanalian catharsis that awaits us, even in our own backyards.
In this collection of interviews taken from The Paris Review, sixteen of the world's great women writers speak about their work, their colleagues and their lives. Women Writers at Work revisits classic interviews with Rebecca West and Simone de Beauvoir along with exchanges with Toni Morrison, Maya Angelou and Nadine Gordimer, showing how different generations have found their voices. They talk about where they write.They talk about how they write. Most importantly they discuss why and what they write. As Margaret Atwood points out in her bracing introduction, the 'Women Writers' here cannot be put into a box, neatly labelled WW. The label should probably read WWAAW, 'Writers Who Are Also Women.' What unites them is less their gender than their commitment to the craft of writing and to life. Each interview is accompanied by a biographical and critical profile, a photograph of the writer and a facsimile manuscript page.
Creating a Profession: Disparate Voices of Indian Women Playwrights is a collection of plays demonstrating a broad variety of contemporary perspectives as told through the eyes of the women who created them. The anthology is enhanced by significant interviews between each writer and the editor and an introduction filled with information about the profession of playwriting throughout India. Details include the challenges of multiple languages throughout the country, the lack of funding and rehearsal spaces, the role of censorship, the need for specific training, and the influence of gender upon these writer’s ability to find what one woman called “brain space” given the continuation of traditional gender expectations.
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.
In this comedic quintet, five couples explore the delights and disappointments of their sex lives. Whether they are the first two people on Earth or the last two, modern partners with shifting needs, exes on the eve of a life-altering event, or twelfth-century pen pals, following those most natural desires uncovers truths about their humanity. Altogether, FIVE TIMES IN ONE NIGHT is a hilarious examination of intimacy through the ages.