This classic study is both an introduction to, and an overview of, the relationship between feminism and theatre.

These essays extend, reinforce, and often challenge one another in their views of the possibility or even the desirability of articulating feminist aesthetics conceived as such. The explorations of theatrical questions as well as specific productions make the volume a valuable source book for directors, designers, and other theatre practitioners.

This book marks a significant methodological shift in studies of black British women’s theatre: it looks beyond published plays to the wealth of material held in archives of various kinds, from national repositories and themed collections to individuals’ personal papers. It finds there a cache of unpublished manuscripts and production recordings distinctive for their non-naturalistic aesthetics. Close analysis of selected works identifies this as an intersectional feminist creative practice. Chapters focus on five theatre companies and artists, spanning several decades: Theatre of Black Women (1982-1988), co-founded by Booker Prize-winning writer Bernardine Evaristo; Munirah Theatre Company (1983-1991); Black Mime Theatre Women’s Troop (1990-1992); Zindika; and SuAndi. The book concludes by reflecting on the politics of representation, with reference to popular postmillennial playwright debbie tucker green. Drawing on new interviews with the playwrights/practitioners and their peers, this book assembles a rich, interconnected, and occasionally corrective history of black British women’s creativity. By reproducing 22 facsimile images of flyers, production programmes, photographs and other ephemera, Black British Women’s Theatre: Intersectionality, Archives, Aesthetics not only articulates a hidden history but allows its readers their own encounter with the fragile record of this vibrant past.

Staging Black Feminisms explores the development and principles of black British women's plays and performance since the late Twentieth century. Using contemporary performance theory to explore key themes, it offers close textual readings and production analysis of a range of plays, performance poetry and live art works by practitioners.

This book offers a matrixial, feminist-centered analysis of trauma and performance, through examining the work of three artists: Ann Hamilton, Renée Green, and Cecilia Vicuña. Each artist engages in a multi-media, or “combination” performance practice; this includes the use of site, embodied performance, material elements, film, and writing. Each case study involves traumatic content, including the legacy of slavery, child sexual abuse and environmental degradation; each artist constructs an aesthetic milieu that invites rather than immerses—this allows an audience to have agency, as well as multiple pathways into their engagement with the art. The author Niki Tulk suggests that these works facilitate an audience-performance relationship based on the concept of ethical witnessing/wit(h)nessing, in which viewers are not positioned as voyeurs, nor made to risk re-traumatization by being forced to view traumatic events re-played on stage. This approach also allows agency to the art itself, in that an ethical space is created where the art is not objectified or looked at—but joined with. Foundational to this investigation are the writings of Bracha L. Ettinger, Jill Bennett and Diana Taylor—particularly Ettinger’s concepts of the matrixial, carriance and border-linking. These artists and scholars present a capacity to expand and articulate answers to questions regarding how to make performance that remains compelling and truthful to the trauma experience, but not re-traumatizing. This study will be of great interest to students and scholars of performance studies, art history, visual arts, feminist studies, theatre, film, performance art, postcolonialism, rhetoric and writing.

The Nuyorican Poets Café has for the past forty years provided a space for multicultural artistic expression and a platform for the articulation of Puerto Rican and black cultural politics. The Café’s performances—poetry, music, hip hop, comedy, and drama—have been studied in detail, but until now, little attention has been paid to the voices of its women artists. Through archival research and interview, Nuyorican Feminist Performance examines the contributions of 1970s and ’80s performeras and how they challenged the Café’s gender politics. It also looks at recent artists who have built on that foundation with hip hop performances that speak to contemporary audiences. The book spotlights the work of foundational artists such as Sandra María Esteves, Martita Morales, Luz Rodríguez, and Amina Muñoz, before turning to contemporary artists La Bruja, Mariposa, Aya de León, and Nilaja Sun, who infuse their poetry and solo pieces with both Nuyorican and hip hop aesthetics.

Women in Asian Performance offers a vital re-assessment of women's contributions to Asian performance traditions, focusing for the first time on their specific historical, cultural and performative contexts. Arya Madhavan brings together leading scholars from across the globe to make an exciting intervention into current debates around femininity and female representation on stage. This collection looks afresh at the often centuries-old aesthetic theories and acting conventions that have informed ideas of gender in Asian performance. It is divided into three parts: erasure – the history of the presence and absence of female bodies on Asian stages; intervention – the politics of female intervention into patriarchal performance genres; reconstruction – the strategies and methods adopted by women in redefining their performance practice. Establishing a radical, culturally specific approach to addressing female performance-making, Women in Asian Performance is a must-read for scholars and students across Asian Studies and Performance Studies.