Theatre and Gender

This section of the work will look at gender identity disorder in the era of scientific improvement. The first part of this section will look at scientific innovations in the field of sexuality, starting with "chemical lobotomy…shut down the higher functions of…brain…" (4:48 Psychosis, 14). Attention will also be focused on hormonal therapy recommended by hospitals, prior to possible clinical surgery. For example, in Cleansed, Grace undergoes a hormonal therapy before a clinical surgery that is carried out on her and her sex is reassigned. The last part of this section will be

Presented at the French Graduate Seminar, All Souls’ College, University of Oxford, 8th March 2016.

My thesis research focuses on the theatrical works by French Caribbean women writers; Ina Césaire, Michèle Césaire and Suzanne Dracius, from Martinique; and Maryse Condé and Gerty Dambury, from Guadeloupe. Martinique and Guadeloupe are French départements, however the islands have produced many writers and theorists whose writings form the kernel of postcolonial and anticolonial thought. French Caribbean writers are often marginalized by metropolitan French literary and artistic culture, and have only become the focus of Francophone postcolonial studies over the past thirty years.

Theatre constitutes an under-researched domain within Francophone postcolonial studies, and I aim to demonstrate how the analysis of Caribbean performance cultures enhances our understanding of the fragmentary and multicultural socio-historical realities of the region.  The works of women writers in French theatre is even more under-researched, despite the exceptional concentration of female playwrights within the same generation, a phenomenon that demands more extensive study.

This paper will analyse the representation and exploration of gender constructs and relations in the plays Mémoires d’îles (1983) by Ina Césaire, Comme deux frères (2007) by Maryse Condé and Lettres indiennes (1993) by Gerty Dambury.The artificiality of theatre questions and problematizes gender signifiers and constructs, and offers multiple frames within which to explore gender relations in Antillean society. Using postcolonial, theatrical and spatial theories of gender, I shall analyse how the plays tackle issues of motherhood, domesticity and male-female relations.

In 1972, Syed Mustafa Siraj (1930-2012) published Māyā Mridanga, a novel which has attained an iconic status in recent years[1], with the advent of queer studies and a proliferation of queer texts in South Asia. Since its first appearance, the novel, set within an almost extinct itinerant folk theatre group, Alkaap, drew the attention of scholars working on aboriginal and folk cultures of Bengal; but, they have largely ignored Siraj’s declaration in the 1972 preface that the novel primarily deals with the cross-dressing male actors (p.5), the chhokras–jara purush tobu purush noy, nari – tobu nari o noy (Men, who are not men, but women – yet, not quite women either, p. 12). Siraj’s novel is a rare modern Bengali text to address deep philosophical questions of sexual subject formation, of essence and existence, of being and becoming.

Bu çalışma model aldığı tiyatro oyunları
üzerinden, toplumsal cinsiyet kalıp yargılarının
Türkiye’de çocuk tiyatrosuna yansımasını
araştırmaktadır. Çalışmada Ülker Köksal'ın
basılmış tüm çocuk oyunları ile Gülen İpek Abalı,
Ziya Demirel, Nesrin Kazankaya gibi sanatçıların
çocuk oyunlarından bazıları toplumsal cinsiyet
kavramı ile ele alınacaktır. Çocuk tiyatrosunda
eğitim işlevinin öne çıktığı bilinmektedir. Bu
nedenle çocuk oyunlarında yer alan toplumsal
cinsiyet kalıp yargıları, kendini koruması, yeniden
üretmesi ve nesilden nesile aktarması bakımından
önemlidir. / This article aims to searching the gender
patterns on plays of Turkish children’s theatre
through model plays. In this article plays written
by Ülker Köksal, Gülen İpek Abalı, Ziya Demirel,
Nesrin Kazankaya will be reading with the
concept of genders. It is known that education
is the first aim in children's theatre. The gender
roles in children's theatre are important because
of repoducing and learning.

This article examines the feminist potential and political risks of a theatrical mode of protest staged by women in India, namely, the deliberate and public exposure of naked female bodies as a gesture of defiance against the violence of the Indian state. I examine literary, theatrical, documentary, and political representations of such naked protests in India, tracing how they draw from and reconstitute a wider cultural repertoire around women’s nakedness that shapes their meaning and impact as critiques of patriarchal violence. I also consider the gendered logics through which each of them attempts to rescript the patriarchal terms underwriting the violence of the state. I argue that naked protest does deviate from the hegemonic norms of feminine shame that render women violable—yet in particular framings, the gesture also risks reinscribing a chivalrous ideal of masculinity in ways that should give feminists some pause. I conclude that the eventual success of naked protests as a viable mode of women’s protest in India should be gauged not only in terms of their immediate reception and outcome but also in terms of the gendered scripts that they rewrite or reinforce. Moving away from a false dichotomy of protective or dominative masculinity implicit in some of these protests, I conclude that an ongoing deconstruction of the gender binary is integral to any feminist critique of violence.

Ξεκινώντας από την αναμορφωμένη και εξιδανικευμένη εικόνα της Μαρίας-Αντουανέτας που ο Edmund Burke έπλασε στη διάσημη πραγματεία του ενάντια στη Γαλλική Επανάσταση και τις αρχές της, Reflections on the Revolution in France (1790), και με αναφορές στα θεατρικά κείμενα που γράφτηκαν στη Βρετανία για την απαγχονισμένη βασίλισσα της Γαλλίας την εποχή αυτή, θα συζητήσω στην ανακοίνωση τα γυναικεία πρότυπα που κατασκευάζονται μέσα από το θέατρο, στο τέλος του 18ου αιώνα και στις αρχές του 19ου, και καθορίζουν τον ρόλο και τη θέση της γυναίκας στην μετεπαναστατική κοινωνία. Η συζήτηση γύρω από τη Μαρία-Αντουανέτα, τις απεικονίσεις και τις (ανα)παραστάσεις της στη Βρετανία, τη χώρα που ανέλαβε να υπερασπιστεί για όλη την Ευρώπη τη μοναρχία απέναντι στις δημοκρατικές διεκδικήσεις των γάλλων επαναστατών και των υποστηρικτών τους, αλλά και γενικότερα, η μελέτη των γυναικείων δραματικών προσώπων που επιτρέπουν λογοκρισία και θεατρική κριτική να παρουσιαστούν στη λονδρέζικη σκηνή, υποδεικνύουν τις ιδεολογικές, αισθητικές, σκηνικές και πολιτικές συμπλεύσεις που επιβάλλουν στη Βρετανία τον αποκλεισμό των γυναικών από τη δημόσια σφαίρα.

Focusing on British plays portraying Marie Antoinette as a devoted mother and virtuous maiden at the end of the 18th century and Burke's response to French women participating in the Revolution, the paper discusses issues of female sexuality and conduct at the turn of the century and in the aftermath of 1789.

Unser Beitrag stellt das Verhältnis von Körperlichkeit, Materialität und Gender in Theater und Theaterwissenschaft ins Zentrum der Auseinandersetzung und zielt darauf, die Interdependenz der drei Kategorien herauszuarbei-ten und hervorzuheben. Dieser Zusammenhang der drei Begriffe ist in der Theaterwissenschaft durchaus keine Selbstverständlichkeit, im Gegenteil: Während Materialität und Körperlichkeit im Kontext des performative turneine starke Aufwertung und Zuwendung erfahren haben, ist Gender vergleichsweise marginal geblieben. Im ersten Teil soll es um eine begriffstheoretische Erörterung der Kategorien von Materialität und Körperlichkeit in ihrem Verhältnis zur Kategorie Gender gehen, wie sie primär im deutschsprachigen theaterwissenschaftlichen Diskurs der letzten zehn bis 15 Jahre Verwendung finden. Im zweiten Teil stehen drei Strategien des Gegenwartstheaters im Mittelpunkt, welche das Verhältnis von Materialität, Körperlichkeit und Gender verhandeln: Cross-Dressing, Nacktheit und Affektion der Dinge.

Bu çalışma toplumsal kimlik, sanat ortamı ve kadınlık arasındaki ilişkileri
incelemektedir. Çalışmanın ilk bölümünde benlik, toplumsal kimlik ve cinsiyet etiketi, ikinci ve üçüncü bölümlerinde kimlik ve etiket tartışmaları ekseninde kadının ve erkeğin sanat ortamındaki varoluş biçimleri araştırılmıştır. Çalışmanın son bölümünde Türkiye’deki kadın tiyatro yönetmenlerinin deneyimlerinden örnekler verilerek, kadınlık ve sanatçılık arasındaki toplumsal rol çatışmaları tartışılmıştır. / This paper aims to review the relationship between social identity, art environment and femininity. In the first part of this paper self and social identity and gender label researched, second and third part includes the discussion identity or label and then it’s researched that how women and men existence in the art environment. The last part includes examples of
Turkish theater directors’s experiences as a women and discussion part is about women artists and role conflict.

CTR 165, Winter 2016
Equity in Theatre
Edited by Rebecca Burton and Laine Zisman Newman

Striving to achieve equity in theatre requires not simply an acknowledgement of marginalization and exclusion, but a rectification of imbalances and misrepresentations. In this issue of Canadian Theatre Review, contributors seek to increase visibility around existent industry barriers while positing possible solutions to help affect positive change. Academics, artists, and activists creatively and persuasively call for the inclusion of marginalized practitioners not only onstage but in the creation, development, and production of artistic works; they celebrate and revel in the work that women and minoritized theatre practitioners have and continue to produce; and they look to the future to envision performatively how equity in the industry might be achieved. As noted by many of the authors, essential to any effort or collaboration is an intersectional approach that recognizes how different women encounter the theatre industry in varied ways. Underrepresented and marginalized theatre creators experience oppressions through complex and layered barriers, which cannot be confronted or remedied through a single action or one-off event. Substantive alterations are greatly needed to permeate all aspects of the industry and the institutions that support it. Nothing short of a blitzkrieg effort will do. In this CTR issue, the contributors’ strength, creativity, and drive is testament to an undeniable reality: change is coming to a theatre near you.

Plenty of Sri Lankan Tamil artists and scholars have talked about the lives and struggles of ethnically oppressed Sri Lankan Tamil people as war and lives of the people are indivisible in for the past five decades. Thus, theatre, which played a vital role in mobilizing people against ethnic oppression as well as voicing nationally and internationally, symbolizes women to tell how the people are worse subjugated by the oppressors. Hence, most of the core performers performing uplifting roles in the theatre were played by women.The objective of this study is to examine the voices of women raised for protesting gender and sexual assault of the Tamil women and others in Sri Lanka through Tamil theatre. War theatre and Propagandist theatre including street plays and "PonguTamizh" performances, which was considered as the theatrical uprising for the political aspirations of Tamils, are used as the primary sources whereas discussions made on the themes of these plays are considered as the secondary sources of this paper.

La presente investigación se articula a partir de un eje temático específico; Federico Chueca y Joaquín Valverde y su zarzuela La Gran Vía. Nuestro interés no tiene que ver con un análisis estrictamente formal de la obra, sino con el estudio de las conductas y de los comportamientos atribuidos a los personajes femeninos por parte de los compositores en función de su condición social y de género. Más allá de la pertinente contextualización de los autores, del proceso creativo y del contenido de esta zarzuela, profundizaremos en el análisis de la relación entre la caracterización musical y la argumental. Los personajes femeninos se convierten, por lo tanto, en nuestro objeto de estudio principal.

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Public talk between Dr Nina Kane, Masters student Momoyo Niimi and director Tomoco Kawaguchi on Sarah Kane, clothing and gender. Artist-in-Residence programme, Wakabacho Wharf, Yokohama, Japan, 31st January 2018. Talk in Japanese and English. Funded by the Kanagawa Prefecture Visiting Artists Fund.

Sergio Blanco (1971, Montevideo - Uruguay), a splendid career as theatre director and playwriter in his country and in Europe, unfortunately is still unknown in Italy. In April 2008 he was in Athens and decides to go away from tourist routes, wandering and looking for another face of the city: he meets a melting-pot of race and language, but also the complex reality of drogue, crime, prostitution. Starting from this contemporary and unusual Athens, Blanco creates the monologue Kassandra, an original rewriting of the mythical figure from the ancient Greek tragedy. The foreseen location of this “stand-up tragedy” is not a conventional stage theatre but a modern pub. Kassandra, wearing red shiny boots is waiting for sex-customers, and starts talking about the terrible events occurred in the past (Troy destruction, the love affair with Agamemnon, the wild murder by Clytemnestra). Myth and contemporary time follow one to another, in a strange but successfull mix: Euripides and Bugs Bunny, ancient Troy and Tara (Gone to the wind), tragedy and humour. All the monologue is spoken in an elementary English full of mistakes, but this solution provides an utmost and powerful expressiveness to every word. As a character floating in an “in-between” condition at many levels (i.e. myth-reality, ethnic, linguistic and also sexual identity), Kassandra feels foreigner in a foreign body (not man / not woman), selling herself for pocket change but nevertheless hoping in a better future.