The Feminist Spectator as Critic by Jill Dolan

By Jill Dolan

The Feminist Spectator as Critic broke new floor as one of many pioneering books on feminist spectatorship, encouraging resistant readings to generate feminist meanings in functionality. imminent stay spectatorship via quite a number interdisciplinary tools, the e-book has been foundational in theater reviews, functionality stories, and gender/sexuality/women's experiences. This up to date and enlarged moment version celebrates the book's twenty-fifth anniversary with a considerable new advent and up-to-the-moment bibliography, detailing the development up to now in gender fairness in theater and the humanities, and suggesting how a ways we have now but to go.

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Likewise, Rebeck addressed the ravages of criticism in her Laura Pels keynote address, which she delivered at ART/NY’s annual meeting in March 2010. Rebeck described the progress of her own 1999 play The Butterfly Collection from a workshop production at South Coast Rep in California to a fall 2000 production at Playwrights Horizons in New York. The play generated a great deal of excitement, Rebeck recalls. A lot of commercial producers came [to see the play at Playwrights Horizons], as people felt that it could potentially move [to a Broadway run].

Some women in theatre suggest that women's advocacy groups and workshop spaces are temporary measures that will no longer be necessary when women truly achieve parity with men. Many working women playwrights vehemently resist the feminist appellation, because to survive economically their plays must be produced widely in commercial venues. The analogy between feminism and politics is seen as threatening to the universality of their work. II Liberal feminist playwrights and critics accept the notion that theatre communicates universally and prefer not to be particularized as women.

Rebeck described the progress of her own 1999 play The Butterfly Collection from a workshop production at South Coast Rep in California to a fall 2000 production at Playwrights Horizons in New York. The play generated a great deal of excitement, Rebeck recalls. A lot of commercial producers came [to see the play at Playwrights Horizons], as people felt that it could potentially move [to a Broadway run]. Introduction to the Second Edition xxxv Nine separate regional theaters were circling to produce it.

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