Lives in Play explores the centrality of life narratives to womenas drama and performance from the 1970s to the present moment. In the early days of second-wave feminism, the slogan was aThe personal is the political.a These autobiographical and biographical atrue storiesa have the political impact of the real and have also helped a range of feminists tease out the more complicated aspects of gender, sex, and sexuality in a Western culture that now imagines itself as apostfeminist.a The bookas scope is broad, from performance artists like Karen Finley, Holly Hughes, and Bobby Baker to playwrights like Suzan-Lori Parks, Maria Irene Fornes, and Sarah Kane. The book links the narrative tactics and theatrical approaches of biography and autobiography and shows how theater artists use life writing strategies to advance womenas rights and remake womenas representations. Lives in Play will appeal to scholars in performance studies, womenas studies, and literature, including those in the growing field of auto/biography studies. a A fresh perspective and wide-ranging analysis of changes in feminist theater for the past thirty years . . . a most welcome addition to the literature on theater, in particular scholarship on feminist practices.a aChoice aHelps sustain an important history by reviving works of feminist theater and performance and giving them a new and refreshing context and theorical underpinning . . . considering 1970s performance art alongside more conventional play production.a aLesley Ferris, The Ohio State UniversityCan the lessons of 4.48 Psychosis apply to a play like How I Learned to Drive, where the playwright at once inserts cues to read biographically, even as she publicly denies the playa#39;s plot as autobiography? Can we read as meaningful the anbsp;...
|Title||:||Lives in Play|
|Publisher||:||University of Michigan Press - 2012-08-08|