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Women in Performance: Repurposing Failure charts the renewed
popularity of intersectional feminism, gender, race and identity
politics in contemporary Western experimental theatre, comedy and
performance through the featured artists' ability to strategically
repurpose failure. Failure has provided a popular frame through
which to theorise recent avantgarde performance, even though the
work rarely acknowledges stakes tend to be higher for women than
men. This book analyses the imperative work of a number of female,
non-binary and trans* practitioners who resist the postmodern
doctrine of 'post-identity' and attempt to foster a sense of agency
on stage. By using feminism as a critical lens, Gorman interrogates
received ideas about performance failure and negotiates
contradictions between contemporary white feminism, intersectional
feminism, gender and sexuality. Women in Performance: Repurposing
Failure reveals how performance has the power to both observe and
reject contemporary feminist and postmodern theory, rendering this
text an invaluable resource for theatre and performance studies
students and those grappling with the disciplinary tensions between
feminism, gender, queer and trans* studies.
Women in Performance: Repurposing Failure charts the renewed
popularity of intersectional feminism, gender, race and identity
politics in contemporary Western experimental theatre, comedy and
performance through the featured artists' ability to strategically
repurpose failure. Failure has provided a popular frame through
which to theorise recent avantgarde performance, even though the
work rarely acknowledges stakes tend to be higher for women than
men. This book analyses the imperative work of a number of female,
non-binary and trans* practitioners who resist the postmodern
doctrine of 'post-identity' and attempt to foster a sense of agency
on stage. By using feminism as a critical lens, Gorman interrogates
received ideas about performance failure and negotiates
contradictions between contemporary white feminism, intersectional
feminism, gender and sexuality. Women in Performance: Repurposing
Failure reveals how performance has the power to both observe and
reject contemporary feminist and postmodern theory, rendering this
text an invaluable resource for theatre and performance studies
students and those grappling with the disciplinary tensions between
feminism, gender, queer and trans* studies.
The theatre of Richard Maxwell and the New York City Players has
received significant international recognition over the past ten
years. The company has received three OBIEs, for House (1999),
Drummer Wanted (2002) and Good Samaritans (2005). Maxwell received
a Guggenheim Fellowship in 2010 and has been commissioned by venues
in the United States, the United Kingdom, Germany, Austria, the
Netherlands, France, Belgium and Ireland. Although his productions
generate a plethora of reviews, there is a deficit of material
providing a critical and sustained engagement with his work. The
aim of this book is to provide a critical survey of Maxwell's work
since 1992, including his early participation in Cook County
Theater Department. Touching upon the acting, production and
rehearsal processes of NYC Player's work, and Maxwell's
representations of space, community, race, and gender, this volume
provides scholars with an important overview of a key figure in
contemporary drama.
The theatre of Richard Maxwell and the New York City Players has
received significant international recognition over the past ten
years. The company has received three OBIEs, for House (1999),
Drummer Wanted (2002) and Good Samaritans (2005). Maxwell received
a Guggenheim Fellowship in 2010 and has been commissioned by venues
in the United States, the United Kingdom, Germany, Austria, the
Netherlands, France, Belgium and Ireland. Although his productions
generate a plethora of reviews, there is a deficit of material
providing a critical and sustained engagement with his work. The
aim of The Theatre of Richard Maxwell and the New York City Players
is to provide a critical survey of Maxwell's work since 1992,
including his early participation in Cook County Theater
Department. Touching upon the acting, production and rehearsal
processes of NYC Player's work, and Maxwell's representations of
space, community, race, and gender, this volume provides scholars
with an important overview of a key figure in contemporary drama.
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