FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W4383554087> ?p ?o ?g. }

• W4383554087 endingPage "110" @default.
• W4383554087 startingPage "109" @default.
• W4383554087 abstract "Reviewed by: Critical Perspectives on Contemporary Plays by Women: The Early Twenty-First Century ed. by Penny Farfan and Lesley Ferris Jennifer-Scott Mobley Critical Perspectives on Contemporary Plays by Women: The Early Twenty-First Century. Edited by Penny Farfan and Lesley Ferris. Ann Arbor: University of Michigan Press, 2021; pp. 312. Persistent lack of representation for women playwrights across global stages remains a central concern to feminist theatre scholars. Thankfully, the essays in this collection, representing a plurality of feminism in the plays featured and a variety of critical approaches, help address the ongoing disparities. Building on Penny Farfan and Lesley Ferris's earlier collaboration, Contemporary Women Playwrights (Palgrave Macmillan, 2013), this volume impressively expands that work, deepening feminist engagement across intersections of race, ethnicity, class, sexuality, ability, and age. Indeed, several essays do not foreground gender but contribute more widely to larger narratives and global perspectives, offering a dynamic snapshot of the scope and diversity within the field of women playwrights. Divided into seven sections that cluster the plays in terms of the broad critical actions they perform (2), the book includes twenty-eight essays each engaging an individual play. Part one, Replaying the Canon, features analyses that investigate how women playwrights have responded to and reimagined classic texts from the male-authored canon. For example, Farfan explores how Margaret Atwood's Penelopiad revisits the myth of Odysseus and explores Penelope's complicity in the hanging of the twelve maids. Catherine M. Cole examines Yaël Farber's adaptation of the Orestia, Molara, set in postapartheid South Africa at the height of the Truth and Reconciliation Commission, noting the uniquely South African aesthetics evident in the production such as the musical presence of the Ngqoko Cultural Group who bring a sense of cultural specificity and authenticity (45). Denise Varney focuses on Australian Indigenous playwright Leah Purcell's radical adaptation of the colonial short story The Drover's Wife, which stages an Indigenous, feminist frontier narrative that redresses the comic passivity of the original and its racial prejudice (39). Section two, Representing Histories, analyzes plays that integrate larger historical, sociopolitical narratives and explore the past through the lens of the present. Alisa Solomon delves into the layered dramaturgy of Adrienne Kennedy's He Brought Her Heart Back in a Box, which depicts the journey of star-crossed mixed-race lovers, Kay and Christopher from the American South, juxtaposing the 1940s Jim Crow policies of their hometown with Christopher's memories of his grandfather and father, who entertained German visitors offering the white-supremacist town of Montefiore, Georgia as a prototype for Nazi planning (67). Sharon L. Green approaches Lisa Loomer's Roe as both a history play and a memory play wherein depictions of historically based characters Norma McCorvey (aka Roe) and Sarah Weddington, her young lawyer, remind us of the ongoing vulnerability experienced by women of color and poor women targeted by legislation in the struggle for abortion rights as well as the urgency of the ongoing fight for reproductive justice. Section three, Staging Lives, examines plays that center the individual as subject. For example, Emine Fişek considers how Hélène Cixous's program notes for Théâtre du Soleil's Le Dernier Caravansérail: Odyssées eschew formalist strategies of authorship to engage broader ethical questions surrounding the tension between the authorial self and the witnessed other in representing the stories of migrants displaced by civil war and the collapse of the Soviet Union. Paola S. Hernández illuminates how Argentinean playwright/director Lola Arias deploys techniques of documentary theatre alongside reenactment by veteran soldier-performers to generate connection between and understanding of those impacted by the Malvinas/Falklands War in her piece Minefield/Campo minado. Section four, Reimagining Family, offers analyses of plays that reinvent patriarchal constructs of family—the heteronormative social unit and mythologized foundation of much dramatic literature. Natalie Alvarez and Jimena Ortuzar highlight the dramaturgy of free jazz in Quiara Alegría Hudes's Water by the Spoonful that enables an aesthetic freedom from the form/content binary and open[s] up new spaces of representation for the irreducible particularities of Latinx experience and notions of family (148). Meenakshi Ponnuswami's..." @default.
• W4383554087 created "2023-07-08" @default.
• W4383554087 date "2023-07-01" @default.
• W4383554087 modified "2023-10-17" @default.
• W4383554087 title "Critical Perspectives on Contemporary Plays by Women: The Early Twenty-First Century ed. by Penny Farfan and Lesley Ferris (review)" @default.
• W4383554087 doi "https://doi.org/10.1353/tt.2023.a901204" @default.
• W4383554087 hasPublicationYear "2023" @default.
• W4383554087 type Work @default.
• W4383554087 citedByCount "0" @default.
• W4383554087 crossrefType "journal-article" @default.
• W4383554087 hasConcept C107993555 @default.
• W4383554087 hasConcept C124952713 @default.
• W4383554087 hasConcept C142362112 @default.
• W4383554087 hasConcept C144024400 @default.
• W4383554087 hasConcept C199033989 @default.
• W4383554087 hasConcept C2777688943 @default.
• W4383554087 hasConcept C519517224 @default.
• W4383554087 hasConcept C74916050 @default.
• W4383554087 hasConcept C95457728 @default.
• W4383554087 hasConceptScore W4383554087C107993555 @default.
• W4383554087 hasConceptScore W4383554087C124952713 @default.
• W4383554087 hasConceptScore W4383554087C142362112 @default.
• W4383554087 hasConceptScore W4383554087C144024400 @default.
• W4383554087 hasConceptScore W4383554087C199033989 @default.
• W4383554087 hasConceptScore W4383554087C2777688943 @default.
• W4383554087 hasConceptScore W4383554087C519517224 @default.
• W4383554087 hasConceptScore W4383554087C74916050 @default.
• W4383554087 hasConceptScore W4383554087C95457728 @default.
• W4383554087 hasIssue "2" @default.
• W4383554087 hasLocation W43835540871 @default.
• W4383554087 hasOpenAccess W4383554087 @default.
• W4383554087 hasPrimaryLocation W43835540871 @default.
• W4383554087 hasRelatedWork W1484437451 @default.
• W4383554087 hasRelatedWork W1946080426 @default.
• W4383554087 hasRelatedWork W1971152093 @default.
• W4383554087 hasRelatedWork W1974317653 @default.
• W4383554087 hasRelatedWork W1987033788 @default.
• W4383554087 hasRelatedWork W2084043941 @default.
• W4383554087 hasRelatedWork W2317596408 @default.
• W4383554087 hasRelatedWork W2754513840 @default.
• W4383554087 hasRelatedWork W2945638871 @default.
• W4383554087 hasRelatedWork W4306957361 @default.
• W4383554087 hasVolume "33" @default.
• W4383554087 isParatext "false" @default.
• W4383554087 isRetracted "false" @default.
• W4383554087 workType "article" @default.