By Geraldine Harris Elaine Aston
Relocating around the obstacles of mainstream and experimental circuits, from the affective pleasures of commercially profitable exhibits corresponding to Calendar women and Mamma Mia! to the feminist chances of new burlesque and stand-up, this booklet bargains a lucid and available account of well known feminisms in modern theatre and function.
Read Online or Download A Good Night Out for the Girls: Popular Feminisms in Contemporary Theatre and Performance PDF
Best popular books
Executive publishing presents a wealth of knowledge that's frequently tough to discover in different assets. This annotated bibliography identifies and describes these federal records (monographs, journals, maps, posters, pamphlets, and media kits) which are prone to be in optimum call for by way of scholars, lecturers, and lay voters of every age and demographic backgrounds.
Quantity concentrates completely on song task within the usa within the 19th century. one of the themes mentioned are how altering expertise affected the printing of track, the improvement of sheet track publishing, the expansion of the yankee musical theater, well known spiritual track, black tune (including spirituals and ragtime), track throughout the Civil warfare, and at last "music within the period of monopoly," together with such topics as copyright, altering know-how and distribution, invention of the phonograph, copyright revision, and the institution of Tin Pan Alley.
Taking its name with appropriate slacker irony from a track on Nirvana's In Utero, Milk It! is an anthology of items written within the warmth of the moment-an pressing and various review that mirrors the chaotic rush of the postmodern sounds it covers. Headnotes and connective material-the "stories in the back of the stories"-provide working observation at the track company, rock feedback, a bothered iteration, and an try to positioned the fast-moving alternative-rock period in point of view from the secure distance of the relatively bland new millennium.
- Popular Intellectuals and Social Movements: Framing Protest in Asia, Africa, and Latin America (International Review of Social History Supplements (No. 12))
- Popular Music in Contemporary France: Authenticity, Politics, Debate (Berg French Studies)
- Hardcore, punk, and other junk : aggressive sounds in contemporary music
- Repeating ourselves : American minimal music as cultural practice
- Katy Perry. Famous Pop Singer & Songwriter
Additional resources for A Good Night Out for the Girls: Popular Feminisms in Contemporary Theatre and Performance
Calendar Girls 29 By this, Brunsdon means the way in which women other the feminist generation that came before them: For if second-wave feminists were not like the housewives and sex objects they saw in the media, they were in turn othered by the post-colonial critique of the 1980s. As second-wave feminism interrogated itself, the next generation of feminists felt compelled to declare their lack of identity with second-wave feminists. Second-wave feminism is remembered, and demonized, as personally censorious, hairy and politically correct, and has been the key other for younger women keen to celebrate the femininity and feminism of Buffy and Ally.
The scene excites in the same way that a high-wire circus or dangerous knifejuggling act does, where the danger and thrill is in seeing how and whether the actresses pull this off. As actress Siân Philips (Jessie, in the original Chichester cast) commented: ‘You don’t need a good body to be in this play, but you do need to be a whiz with props, given that we are responsible for preserving our own modesty. If we get nervous and drop something, well, we’ve had it’ (qtd. in Porter, 2008). Back in 1981, Nell Dunn’s women’s liberation comedy, Steaming, set in an all-women Turkish baths, caused a sensation with its staging of female nudity in a final scene in which a cast of older women of various shapes and sizes plunged naked into a pool of water to signify woman-as-liberated.
In other words, they are recycled and, therefore, reassuring’ (ibid: 62; original emphasis). Although cognisant of the hierarchical divide between the ‘profitable’ and the ‘pleasurable’, our critical interest resides, as Eve Sedgwick would have or put it, in ‘loosening up’ this dualism with a view to thinking otherwise: to revising a view of the popular (women’s) show as merely a disposable form of strictly unprofitable (in the social sense) culture. So, for instance, in respect to Calendar Girls, the line of feminist enquiry pursued here contrasts with that of the theatre critics who variously trashed the show on account of its popular credentials, wrote anxiously of its astonishing commercial success, and dismissively of its emotional (rather than intellectual) appeal to women’s audiences of a ‘certain age’.
A Good Night Out for the Girls: Popular Feminisms in Contemporary Theatre and Performance by Geraldine Harris Elaine Aston