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“Look at Me!” Performing the Body and Self on Stage

100%

Tóth G.

Gender Studies

2012

vol. 11

issue Supplement

174-187

The paper aims to explore some exemplary pieces of dramatic literature from antiquity and the Renaissance and especially from modern and postmodern works such as The Glass Menagerie by Tennessee Williams, ‘Night Mother by Marsha Norman and A Movie Star Has to Star in Black and White by Adrienne Kennedy through the lens of body, disability and gender studies. While the paper mainly focuses on these three plays, it is not restricted to them. The pieces illustrate how the stage representation of physically or mentally challenged characters has changed and the process through which disabled performance has transferred into performative acts.

Zmowa kobiet? Inscenizacje feministyczne w polskim teatrze dwudziestolecia międzywojennego

71%

Poskuta-Włodek D.

Przestrzenie Teorii

2015

issue 23

The first wave of feminism in Poland consisted of a wide range of events. All women who were educated, independent, and professionally active and successful were regarded as feminists (regardless of their self-identification). Women of the theater, i.e., playwrights, directors, actresses and scenographers, who occupied themselves with “womanly subjects” in the 1920s and 1930s,created feminist theater which was important though it did not last long. In numerous feminist performances, theatrical productions dealt with subjects such as women in control of their own sexuality and bodies, women’s full participation in life, as well as economic independence and equal rights for women. Feminists in Polish theater, for example, Zofia Modrzewska, Maria Morozowicz-Szczepkowska, Irena Grywińska and Marcelina Grabowska, were typically not treated seriously by male critics, who were condescending, scornful, and unable to transcend their male perspective.

The first wave of feminism in Poland consisted of a wide range of events. All women who were educated, independent, and professionally active and successful were regarded as feminists (regardless of their self-identification). Women of the theater, i.e., playwrights, directors, actresses and scenographers, who occupied themselves with “womanly subjects” in the 1920s and 1930s, created feminist theater which was important though it did not last long. In numerous feminist performances, theatrical productions dealt with subjects such as women in control of their own sexuality and bodies, women’s full participation in life, as well as economic independence and equal rights for women. Feminists in Polish theater, for example, Zofia Modrzewska, Maria Morozowicz-Szczepkowska, Irena Grywińska and Marcelina Grabowska, were typically not treated seriously by male critics, who were condescending, scornful, and unable to transcend their male perspective.

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“Look at Me!” Performing the Body and Self on Stage

Zmowa kobiet? Inscenizacje feministyczne w polskim teatrze dwudziestolecia międzywojennego