Feminist Theatrical Revisions of Classic Works

Informationen zum Autor Sharon Friedman is a professor at the Gallatin School, New York University. Klappentext Re-visioning the classics, often in a subversive mode, has evolved into its own theatrical genre in recent years, and many of these productions have been informed by feminist theory and practice. This book examines recent adaptations of classic texts (produced since 1980) influenced by a range of feminisms, and illustrates the significance of historical moment, cultural ideology, dramaturgical practice, and theatrical venue for shaping an adaptation. Essays are arranged according to the period and genre of the source text re-visioned: classical theater and myth (e.g. Antigone, Metamorphoses), Shakespeare and seventeenth-century theater (e.g. King Lear, The Rover), nineteenth and twentieth century narratives and reflections (e.g. The Scarlet Letter, Jane Eyre, A Room of One's Own), and modern drama (e.g. A Doll House, A Streetcar Named Desire). Zusammenfassung Re-visioning classic drama! often in a subversive mode! has evolved into its own theatrical genre and many of these productions have been informed by feminist theory and practice. This book examines feminist adaptations (produced since 1980) of classic works.

Autorentext
Sharon Friedman is a professor at the Gallatin School, New York University.

Klappentext
Re-visioning the classics, often in a subversive mode, has evolved into its own theatrical genre in recent years, and many of these productions have been informed by feminist theory and practice. This book examines recent adaptations of classic texts (produced since 1980) influenced by a range of feminisms, and illustrates the significance of historical moment, cultural ideology, dramaturgical practice, and theatrical venue for shaping an adaptation. Essays are arranged according to the period and genre of the source text re-visioned: classical theater and myth (e.g. Antigone, Metamorphoses), Shakespeare and seventeenth-century theater (e.g. King Lear, The Rover), nineteenth and twentieth century narratives and reflections (e.g. The Scarlet Letter, Jane Eyre, A Room of One's Own), and modern drama (e.g. A Doll House, A Streetcar Named Desire).

Zusammenfassung
Re-visioning classic drama, often in a subversive mode, has evolved into its own theatrical genre and many of these productions have been informed by feminist theory and practice. This book examines feminist adaptations (produced since 1980) of classic works.

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