Essay from the year 2010 in the subject Theater Studies, Dance, grade: 2, University of Queensland (St. Lucia Campus), course: DRAM2030 - Experimentation in 20 Century Theatre, language: English, abstract: Gender politics plays out in all forms of media and art, including theatre. This essay examines how cross-cultural barriers and the way in which theatre canon is compiled and documented affects the way in which we understand theatre in terms of those politics. In the case of German Expressionist Theatre - a theatre form which has been noted to be notorious for its portrayal of mysogenistic attitudes towards women - it is interesting to see how American female playwrights attempted to turn that discourse on its head while their German female 'sisters' were effectively 'silenced' through the procuring and cataloging of Expressionist literature by those who wished for their attempts at an alternative gender narrative to be wiped out completely from history. The three female American playwrights that this essay focuses on are Susan Glaspell, Sophie Treadwell and Adrienne Kennedy, all of whom faced their own personal difficulties as women in the 20th Century (in Kennedy's case as a woman of colour during that time period). A brief historical account of First and Second Wave Feminism is discussed alongside these playwrights' lives and works, in order to demonstrate how their theatre reflected their struggles and hopes for a much better world where all women can truly be considered equals.

This anthology provides access to neglected theatrical work and broadens our understanding of the history of Irish theatre as well as the vital role of women within it. The introduction places these plays in dialogue with one another as well as within the national context of the repealing of women's rights during the Irish Free State years. These are plays by authors including Mary Manning, Dorothy Macardle, Mary Devenport O'Neill, Kate O'Brien and Margaret O'Leary, which are difficult to access, but which are increasingly visible in Irish theatre scholarship. This unique collection places the playwrights in dialogue to form a tradition of women's theatrical work that challenges the male-dominated literary canon of Irish theatre, as well as enriching the body of women's theatrical work in the Anglophone world during the interwar years. Includes the plays: Kate O'Brien – Distinguished Villa (1926) Margaret O'Leary – The Woman (1929) Mary Manning – Youth's the Season (1931) Dorothy Macardle – Witch's Brew (1931) Mary Devenport O'Neill – Bluebeard (1933)

This is the first book to deal with Glaspell and Treadwell’s plays from a theatrical perspective, and presents a comprehensive overview, from lesser known plays to seminal productions of Trifles and Machinal.

This work within The SAGE Reference Series on Leadership provides undergraduate students with an authoritative reference resource on leadership issues specific to women and gender. Although covering historical and contemporary barriers to women's leadership and issues of gender bias and discrimination, this two-volume set focuses as well on positive aspects and opportunities for leadership in various domains and is centered on the 101 most important topics, issues, questions, and debates specific to women and gender. Entries provide students with more detailed information and depth of discussion than typically found in an encyclopedia entry, but lack the jargon, detail, and density of a journal article. Key Features Includes contributions from a variety of renowned experts Focuses on women and public leadership in the American context, women's global leadership, women as leaders in the business sector, the nonprofit and social service sector, religion, academia, public policy advocacy, the media, sports, and the arts Addresses both the history of leadership within the realm of women and gender, with examples from the lives of pivotal figures, and the institutional settings and processes that lead to both opportunities and constraints unique to that realm Offers an approachable, clear writing style directed at student researchers Features more depth than encyclopedia entries, with most chapters ranging between 6,000 and 8,000 words, while avoiding the jargon and density often found in journal articles or research handbooks Provides a list of further readings and references after each entry, as well as a detailed index and an online version of the work to maximize accessibility for today's student audience

"This expanded edition is brought up to date in the light of the most recent developments in contemporary art. A new chapter considers globalization in the visual arts and the complex issues it raises, focusing on the many major international exhibitions since 1990 that have become an important arena for women artists from around the world."--BOOK JACKET.

Although often dismissed as a minor offshoot of the better-known German movement, expressionism on the American stage represents a critical phase in the development of American dramatic modernism. Situating expressionism within the context of early twentieth-century American culture, Walker demonstrates how playwrights who wrote in this mode were responding both to new communications technologies and to the perceived threat they posed to the embodied act of meaning. At a time when mute bodies gesticulated on the silver screen, ghostly voices emanated from tin horns, and inked words stamped out the personality of the hand that composed them, expressionist playwrights began to represent these new cultural experiences by disarticulating the theatrical languages of bodies, voices and words. In doing so, they not only innovated a new dramatic form, but redefined playwriting from a theatrical craft to a literary art form, heralding the birth of American dramatic modernism.