The Routledge Reader in Politics and Performance brings together for the first time a comprehensive collection of extracts from key writings on politics, ideology, and performance.
Taking an interdisciplinary approach to the subject, and including new writings from leading scholars, the book provides material on:
* post-coloniality and performance theory and practice
* critical theories and performance
* intercultural perspectives
* power, politics and the theatre
* sexuality in performance
* live arts and the media
* theatre games.

The Routledge Reader in Politics and Performance brings together for the first time a comprehensive collection of extracts from key writings on politics, ideology, and performance.
Taking an interdisciplinary approach to the subject, and including new writings from leading scholars, the book provides material on:
* post-coloniality and performance theory and practice
* critical theories and performance
* intercultural perspectives
* power, politics and the theatre
* sexuality in performance
* live arts and the media
* theatre games.

'What is valuable about this volume is its diversity and eclecticism. The book will be a useful resource, particularly for the teaching of feminist theatre and performance.' - New Theatre Quarterly

Feminist Stages draws together the voices of more than fifty women currently working in the theatres of England, Wales, Scotland and Ireland.
It asks provocative questions: What is Feminism? Does gender matter in the theatre? Is there a "female" or "feminist" way of working in the theatre? Are things changing for women in the theatre today?
These women speak across generations, sometimes at cross purposes. They speak from individual positions with regard to race, class, sexuality and regional identity, and approaches to performance.
About the Author and Researcher
Lizbeth Goodman is Lecturer (Theatre Studies/Gender Studies specialist) at the Open University. She also produces and directs comedy at the Gate Theatre, London.
Jane de Gay is a Research Assistant working on the Gender, Politics, Performance Research Project (chaired by Lizbeth Goodman for the Open University). She is also completing at Ph.D. study about the work of Virginia Woolf.

REVIEWS FROM HARDBACK EDITION: 'A number of interesting and powerful themes emerge in this study of Virginia Woolf's relation to the literary past...The strong account of Woolf's relation to tradition in Virginia Woolf's Novels and the Literary Past will surely facilitate further study of the gender politics of Modernism.' - Times Literary Supplement 'An important intervention at a time in which there is particular interest in Woolf's relationship to the past.' Professor Laura Marcus, University of Sussex 'Essential and intellectually provocative reading for Woolf scholars and for common readers alike.' Vara Neverow, University of Connecticut Now available in paperback, this is the first book to explore Virginia Woolf's preoccupation with the literary past and its profound impact on the content and structure of her novels. It analyses Woolf's reading and writing practices via her essays, diaries and reading notebooks and presents chronological studies of eight of her novels, exploring how Woolf's intensive reading surfaced in her fiction. The book sheds light on Woolf's varied and intricate use of literary allusions; examines ways in which Woolf revisited and revised plots and tropes from earlier fiction; and looks at how she used parody as a means both of critical comment and homage. Key Features * The first book-length study of intertextuality in Virginia Woolf's novels * Offers a challenging and provocative new perspective on Woolf's art as a novelist * Develops detailed close readings offering fresh insights into individual works * Presents complex ideas in a lucid and accessible fashion

Reveals Virginia Woolf's interest in Christianity, its ideas and cultural artefacts This wide-ranging study demonstrates that Woolf, despite her agnostic upbringing, was profoundly interested in, and knowledgeable about, Christianity as a faith and a socio-political movement. Jane de Gay provides a strongly contextual approach, first revealing the extent of the Christian influences on Woolf's upbringing, including an analysis of the far-reaching influence of the Clapham Sect, and then drawing attention to the importance of Christianity among Woolf's friends and associates. It shows that Woolf's awareness of the ongoing influence of Christian ideas and institutions informed her feminist critique of society in Three Guineas. The book sheds new light on works including Mrs Dalloway, To the Lighthouse and The Waves by revealing her fascination with the clergy, the Madonna, churches and cathedrals; her interest in the Bible as artefact and literary text; and her wrestling with questions about salvation and the nature of God. Key Features: Reveals the extent of Woolf's knowledge of Christianity and her interest in it Presents fresh readings of Woolf's works by throwing light on this neglected aspect of her thought Takes a strongly contextual approach, looking at Woolf's engagement with contemporary religious debates Reveals the extent of the Christian influences on Woolf's upbringing, including an analysis of the far-reaching and multi-dimensional influence of the Clapham Sect Takes a wide-ranging and comprehensive approach to the topic, considering the social and political dimensions of religion as well as questions of spirituality and theology

There is growing critical interest in the connections between literature and Christianity, but Virginia Woolf's work has so far attracted little attention because of her agnostic upbringing and her famous statement that 'certainly and emphatically there is no god.' This study fills a gap by revealing that Woolf was profoundly interested in, and knowledgeable about, Christianity even though she was not convinced by it. The book sheds new light on her work by examining her allusions to Christian ideas, art, architecture and literature. The book takes a strongly contextual approach, first revealing the extent of the Christian influences on Woolf's upbringing, including an analysis of the far-reaching and multi-dimensional influence of the Clapham Sect, and then drawing attention to the continuing influence of Christianity on modernism and within Woolf's circle. It shows that Woolf's feminist criticism draws on a highly-informed critique of religious ideas about gender and that her explorations of the 'mystic' and 'spiritual' engage with theological debates about sacred space, time and eternity, the soul, salvation and deity.

This book argues that Woolf's preoccupation with the literary past had a profound impact on the content and structure of her novels.

It analyses Woolf's reading and writing practices via her essays, diaries and reading notebooks in order to provide a framework for examining her response to the literary past. It presents chronological studies of eight novels, exploring how Woolf's intensive reading surfaced in her fiction. The book sheds light on Woolf's varied and intricate use of literary allusions; examines ways in which Woolf revisited and revised plots and tropes from earlier fiction; and looks at how she used parody as a means both of critical comment and homage.

Key Features

* The first book-length study of intertextuality in Virginia Woolf's novels

* Offers a challenging and provocative new perspective on Woolf's art as a novelist

* Develops detailed close readings offering fresh insights into individual works

* Presents complex ideas in a lucid and accessible fashion.

The authors explore a range of different approaches to the languages of theatre, including translation and interpretation of the art form, along with languages, performance work, body language and gesture. Considered alongside the related social issues of race, class and dialect, the following questions emerge:
- What is the role of language in theatre today?
- Whose language is English; what other languages do women making theatre use?
- What does it mean to write about, photograph and video live performance?
- What is the future for women's theatre in an international context increasingly united by new technologies but divided by new issues of cultural diversity?
Goodman and de Gay analysis covers issues that are central to current courses in Theatre and Performance and Women's Studies. They assess the forms which women as theatre-makers have chosen to explore in the age of new technology, and look at some of the different definitions of 'theory' offered by theatre-makers and critics including Caryl Churchill, Helene Cixous, Luce Irigiray and Julia Kristeva.

Feminist Stages draws together the voices of more than fifty women currently working in the theatres of England, Wales, Scotland and Ireland.
It asks provocative questions: What is Feminism? Does gender matter in the theatre? Is there a "female" or "feminist" way of working in the theatre? Are things changing for women in the theatre today?
These women speak across generations, sometimes at cross purposes. They speak from individual positions with regard to race, class, sexuality and regional identity, and approaches to performance.
About the Author and Researcher
Lizbeth Goodman is Lecturer (Theatre Studies/Gender Studies specialist) at the Open University. She also produces and directs comedy at the Gate Theatre, London.
Jane de Gay is a Research Assistant working on the Gender, Politics, Performance Research Project (chaired by Lizbeth Goodman for the Open University). She is also completing at Ph.D. study about the work of Virginia Woolf.