This book investigates the representation of rape in British and Irish theatre since the second wave of the Womens Movement. Mainly focusing on the period from the 1990s to the present, it identifies key feminist debates on rape and gender, and introduces a set of ideas about the function of rape as a form of embodied, gendered violence to the analysis of dramaturgical and performance strategies used in a range of important and/or controversial works. The chapters explore the dramatic representation of consent; feminist performance strategies that interrogate common attitudes to rape and rape survivors; the use of rape as an allegory for political oppression; the relationships of vulnerability, eroticism and affect in the understanding and representation of sexual violence; and recent work that engages with anti-rape activism to present womens personal experiences on stage.
Recenzijas
Fitzgeralds analyses concentrate on themes, affects, and representational strategies. The tone of Fitzpatricks Rape on the Contemporary Stage is more matter-of-fact. both studies offer substantial contributions to the field of theatre and drama. (Anette Pankratz, Journal of Contemporary Drama in English, Vol. 8 (2), 2020)
Graduate students, scholars and professionals interested in gender representation in media might find this book useful to better understand how gender representations manifest themselves in media such as theatre. (Morgan Danker, CBQ Communication Booknotes Quarterly, Vol. 51 (3-4), 2020)
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1 | (40) |
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2 Rape on the Naturalistic Stage: The Example of Miss Julie |
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41 | (34) |
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3 Women Playwrights: Subverting Representational Strategies |
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75 | (62) |
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4 The Body of a Woman as a Battlefield: Rape and Conflict |
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137 | (44) |
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5 Eroticism, Vulnerability and Affect |
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181 | (32) |
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6 In Extremis: Staging Rape in the 2010s |
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213 | (32) |
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245 | (12) |
| Bibliography |
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257 | (20) |
| Index |
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277 | |
Lisa Fitzpatrick is Senior Lecturer in Drama in the School of Arts and Humanities, University of Ulster, UK. She is a founding member of the Irish Society for Theatre Research, and the editor of Performing Feminisms in Contemporary Ireland (2013), Performing Violence in Contemporary Ireland (2010), Le théātre irlandais au carrefour des modernités (Annuaire théātral, 40), and Pre-, Past-, and Neo- Colonialisms: Wole Soyinka and Contemporary Theatre (Modern Drama, 45:3, 2002).
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