Contemporary Feminist Theatres is a major evaluation of the forms feminism has taken in the theatre since 1968. Lizbeth Goodman provides a provocative and interdisciplinary study of the development of feminist theatres in Britain. She examines the treatment of key issues such as gender, race, sexuality, language and power in performance. Based on original research and fresh data, Contemporary Feminst Theatres is a fully comprehensive and admirably clear analysis of a flourishing field of practice and inquiry.

“Neaptide races from domestic trauma to staff-room banter ... it bursts with provocative ideas and disturbing questions about human relationships. Most important, it shows that the facade of liberalism and emancipation is merely a translucent gloss.” Jewish Chronicle Claire is a history teacher at a local school where two teenage girls have come out. Their principal, Bea Grimble, is none too impressed, and aims to have them expelled. Claire, who had been hiding the fact that she is homosexual, speaks up on behalf of the girls: this in spite of the fact that she is fighting her ex-husband Lawrence for custody of their daughter, the precocious and happy Poppy. All around Claire hardened attitudes are challenged – and confirmed – as she must decide whether to try to maintain a position of honesty, and battle hypocrisy, from within the bounds of the law, or without. A modern story of custody battles, sexual identity and gender politics, framed around the ancient myth of Demeter and her daughter Persephone. Neaptide was the winner of the 1982 George Devine Award and became the first play by a living female writer to be performed at the National Theatre, London, in 1986. This Modern Classics edition feature a new introduction by Dr Carina Bartleet.

This collection explores how becoming and being a mother can be shaped by, and interconnected with, how mothers realize feminism and/or become feminists. Experiences of motherhood can involve unique discriminations and oppressions, as well as new challenges and possibilities. What may have been overlooked, tolerated, or perhaps even gone unnoticed before becoming a mother, can become overtly apparent or even unavoidable afterwards. Becoming a mother may also lead to a questioning of current feminist priorities and practices, and a recognition of the need for, or even demand for, a mother-centred mode of feminism. This anthology, separated into three sections &– &‘ Losing and Finding,' &‘ Challenging and Critiquing,' and, &‘ Connecting and Conversing' &– provides intersectionally sensitive and broad-ranging interdisciplinary insights into mothers' perceptions of, connection to, and realizations of, feminism. International contributors examine this complex topic through a wide variety of texts including personal and scholarly essays, creative non-fiction, letters and Q and A style discussion, poetry, art, and photography.

Approx.509 pages