Acknowledgements
Notes on Contributors
Introduction; Penny Farfan and Lesley Ferris
PART I: HISTORIES
1. Feeling the Loss of Feminism: Sarah Kane's Blasted and an
Experiential Genealogy of Contemporary Women's Playwriting; Elaine
Aston
2. Female Alliances and Women's Histories in Contemporary Mexican
and Argentine Drama; Ana Elena Puga
3. Chronic Desires: Theatre's Aching Lesbian Bodies; Sara
Warner
4. Women Playwrights in Egypt; Nehad Selaiha with Sarah Enany
5. Transcultural Dramaturgies: Latina Theatre's Third Wave; Natalie
Alvarez
6. Black Women Playwrights Making History: Katori Hall's The
Mountaintop; Soyica Diggs Colbert
PART II: CONFLICTS
7. The Gendered Terrain in Contemporary Theatre of War by Women;
Sharon Friedman
8. Enough! Women Playwrights Confront the Israeli-Palestinian
Conflict; Amelia Howe Kritzer
9. Women Playwrights in Post-Apartheid South Africa: Yael Farber,
Lara Foot-Newton, and the Call for Ubuntu; Yvette Hutchison
10. Writing Across Our Sea of Islands: Contemporary Women
Playwrights from Oceania; Diana Looser
11. Ecodramaturgy in/and Contemporary Women's Playwriting; Wendy
Arons and Theresa J. May
PART III: GENRES
12. Making the Bones Sing: The Feminist History Play, 1976–2010;
Katherine E. Kelly
13. Performing (Our)Selves: The Role of the Actress in
Theatre-History Plays by Women; Lesley Ferris and Melissa Lee
14. Historical Landscapes in Contemporary Plays by Canadian Women;
Penny Farfan
15. Asian American Women Playwrights and the Dilemma of the
Identity Play: Staging Heterotopic Subjectivities; Esther Kim
Lee
16. Deb Margolin, Robbie McCauley, Peggy Shaw: Affect and
Performance; Elin Diamond
Bibliography.
This carefully curated, compelling collection considers women playwrights' work through history and nation, theory and theme, and regard the plays as prescient documents of their cultural moment. Farfan and Ferris cast across the globe for women playwrights with dramatically different ideological and technical concerns. The critics commenting here illuminate the playwrights' particular perspectives while they excavate the universal human challenges, joys, and sorrows evident in their work. Why women, yet again? Because the well-spring of aesthetic innovation, artistic energy, and political insight the capable critics and historians engage in these pages demands to be seen, heard, and known. Attention must be paid to this rewarding work.' - Jill Dolan, Professor of Theatre, Princeton University, USA 'This is a terrific and very timely book that includes contributions from some of the strongest 'next generation' thinkers.' - Peggy Phelan, Ann O'Day Maples Professor in the Arts, Professor of English and Theatre and Performance Studies, Stanford University, USA
Penny Farfan is Professor of Drama at the University of Calgary,
Canada. She is the author of Women, Modernism, and Performance as
well as many articles and book chapters on modernism and
performance and on contemporary women playwrights. She is currently
the editor of Theatre Journal.
Lesley Ferris is Arts and Humanities Distinguished Professor of
Theatre at The Ohio State University, USA. Her publications include
numerous essays on gender and performance and Caribbean-derived
carnival. Her recent devised work was The Camouflage Project, which
focused on British women undercover agents in occupied France in
World War II.
'This carefully curated, compelling collection considers women playwrights' work through history and nation, theory and theme, and regard the plays as prescient documents of their cultural moment. Farfan and Ferris cast across the globe for women playwrights with dramatically different ideological and technical concerns. The critics commenting here illuminate the playwrights' particular perspectives while they excavate the universal human challenges, joys, and sorrows evident in their work. Why women, yet again? Because the well-spring of aesthetic innovation, artistic energy, and political insight the capable critics and historians engage in these pages demands to be seen, heard, and known. Attention must be paid to this rewarding work.' - Jill Dolan, Professor of Theatre, Princeton University, USA 'This is a terrific and very timely book that includes contributions from some of the strongest 'next generation' thinkers.' - Peggy Phelan, Ann O'Day Maples Professor in the Arts, Professor of English and Theatre and Performance Studies, Stanford University, USA
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