Titlebook: Violent Women in Contemporary Theatres; Staging Resistance Nancy Taylor Porter Book 2017 The Editor(s) (if applicable) and The Author(s) 20

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專(zhuān)心

Epilogue,t within a Dungeons and Dragons module, revealing the fantasies of a lesbian bullied in high school. Taylor Porter argues that this kind of theatre, which challenges our vision of culturally defined gender roles in a multiplicity of ways, has the power to help transform our world.

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boxers and soldiers.Explores a broad array of contemporary This book brings together the fields of theatre, gender studies, and psychology/sociology in order to explore the relationships between what happens when women engage in violence, how the events and their reception intercept with cultural u

樸素

Violent Women in Cultural and Artistic Theatres, only male dominance but also our survival, they are typically stereotyped, demonized, or sexualized into monsters, psychotics, or babes. But a psychological and sociological examination of women’s violence reveals its incidence is much more widespread than is publicly acknowledged and its occurrenc

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多山

From Alpha to Omega Women: Ancient Greek Origins and Contemporary Re-visions,hese works. Beginning with the wellspring of Western literature, Greek myth and theatre, she appraises ., including an analysis of Deborah Warner’s production (2002); the myth of Philomele through Timberlake Wertenbaker’s . (1990); .; and Caryl Churchill and David Lan’s . (1986) (based on .). In dif

tenuous

From Monstrous to Miraculous: Violent Mothers and Daughters at Home on Stage,mestic spaces suffer from some level of psychosis, but especially when their victims are children, so they are violating their most fundamental cultural norm of nurturance, judgment against them is often exceptionally harsh. Examination of these types of characters include Carson Kreitzer’s . (2007)

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What Happened to the Angel in the House?: The Violent Female Lover,ays depicting female characters who fight with past and present intimate partners. She discovered that a significant proportion of women engage in not only low-level, mutual violence with their partners, but some also reverse the traditional model and become “intimate terrorists.” The plays discusse

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From State-Sanctioned Power to Sexual Power: The Soldier and the Dominatrix,ultural resistance to women using state-sanctioned force in the military is especially prevalent in this hypermasculinized arena. Three war plays show how women are punished for their invasion into the military’s bastion of manhood: Shirley Lauro’s . (1991), based on female medics in the Vietnam War