While the history of American theatre has been widely documented, the history of its female reviewers has been routinely overlooked. This book seeks to correct that oversight by exploring the role of the great female American critics, thereby expanding their canonical status. The anthology provides a brief description of the women's lives, their working conditions, samples of their writing, and supporting analyses. For some readers, this will be a first encounter with women who deserve to be represented in the American theatre of their times and recognized for their contributions to the development of dramatic theory and criticism.

Early American Women Critics demonstrates that performances of various kinds - religious, political and cultural - enabled women to enter the human rights debates that roiled the American colonies and young republic. Black and white women staked their claims on American citizenship through disparate performances of spirit possession, patriotism, poetic and theatrical production. They protected themselves within various shields which allowed them to speak openly while keeping the individual basis of their identities invisible. Cima shows that between the First and Second Great Religious Awakenings (1730s–1830s), women from West Africa, Europe, and various corners of the American colonies self-consciously adopted performance strategies that enabled them to critique American culture and establish their own diverse and contradictory claims on the body politic. This book restores the primacy of religious performances - Christian, Yoruban, Bantu and Muslim - to the study of early American cultural and political histories, revealing that religion and race are inseparable.

The first publication of Insurrection, a remarkable debut of a major new African-American theatre artist. The playwright won the distinguished Oppenheim Award from Newsday for best new playwright of 1997. Insurrection is a chilling exploration of the roots of the Nat Turner slave insurrection through the eyes of a contemporary black man who is transported back through time with his grandfather.

The Routledge Anthology of Women's Theatre Theory and Dramatic Criticism is the first wide-ranging anthology of theatre theory and dramatic criticism by women writers. Reproducing key primary documents contextualized by short essays, the collection situates women’s writing within, and also reframes the field’s male-defined and male-dominated traditions. Its collection of documents demonstrates women’s consistent and wide-ranging engagement with writing about theatre and performance and offers a more expansive understanding of the forms and locations of such theoretical and critical writing, dealing with materials that often lie outside established production and publication venues. This alternative tradition of theatre writing that emerges allows contemporary readers to form new ways of conceptualizing the field, bringing to the fore a long-neglected, vibrant, intelligent, deeply informed, and expanded canon that generates a new era of scholarship, learning, and artistry. The Routledge Anthology of Women's Theatrical Theory and Dramatic Criticism is an important intervention into the fields of Theatre and Performance Studies, Literary Studies, and Cultural History, while adding new dimensions to Feminist, Gender and Sexuality Studies.

Aquesta col·lecció d'assajos mostra els múltiples aspectes de la contribució que va fer la dona, al teatre americà del segle XIX. En aquest estudi s'ensenyen diversos tipus de dones i els rols que ocupen, així com reflecteix la manera que Susan Glaspell i Sophie Treadwell van ajudar a donar forma al teatre, entre moltes altres que escriurien dècades més tard.

Nanhee is a North Korean defector whose family was left behind in North Korea. Minsung is a South Korean goose father whose family has left him behind in South Korea. Nanhee and Minsung find each other on the internet. A story about modern aspirations and their betrayals, Wild Goose Dreams explores the miracle of quiet intimacy among the noise of the contemporary world.

Historical Dictionary of Contemporary American Theater. Second Edition covers theatrical practice and practitioners as well as the dramatic literature of the United States of America from 1930 to the present. The 90 years covered by this volume features the triumph of Broadway as the center of American drama from 1930 to the early 1960s through a Golden Age exemplified by the plays of Eugene O’Neill, Elmer Rice, Thornton Wilder, Lillian Hellman, Tennessee Williams, Arthur Miller, William Inge, Lorraine Hansberry, and Edward Albee, among others. The impact of the previous modernist era contributed greatly to this period of prodigious creativity on American stages. This volume will continue through an exploration of the decline of Broadway as the center of U.S. theater in the 1960s and the evolution of regional theaters, as well as fringe and university theaters that spawned a second Golden Age at the millennium that produced another – and significantly more diverse – generation of significant dramatists including such figures as Sam Shepard, David Mamet, Maria Irené Fornes, Beth Henley, Terrence McNally, Tony Kushner, Paula Vogel, Lynn Nottage, Suzan-Lori Parks, Sarah Ruhl, and numerous others. The impact of the Great Depression and World War II profoundly influenced the development of the American stage, as did the conformist 1950s and the revolutionary 1960s on in to the complex times in which we currently live. Historical Dictionary of the Contemporary American Theater, Second Edition contains a chronology, an introduction, and an extensive bibliography. The dictionary section has more than 1.000 cross-referenced entries on plays, playwrights, directors, designers, actors, critics, producers, theaters, and terminology. This book is an excellent resource for students, researchers, and anyone wanting to know more about American theater.

It's 1983, the evening before Dr. Sally Ride's historic space flight. Hundreds of miles from the launch, a group of women with passionate opinions and no opportunities sit on a sweltering St. Louis rooftop watching life pass them by. Their uncharted desires bump up against American norms of sex and power in this intimate snapshot of queer anti-heroines.

Kyeoung has spent her entire life negotiating the double standards imposed on her as an Asian-American woman. Bullied by boys in childhood, ostracized by girls as a teen, and gas-lit by men as an adult, her experiences with sexuality grow more and more challenging. As we trace Kyeoung from the insecurity of puberty to the disenchantment of her adult life, USUAL GIRLS chronicles the wonder, pain, and complexity of growing up female.

A play about the imagined fault line between black and white lives by Claudia Rankine, the author of Citizen The White Card stages a conversation that is both informed and derailed by the black/white American drama. The scenes in this one-act play, for all the characters’ disagreements, stalemates, and seeming impasses, explore what happens if one is willing to stay in the room when it is painful to bear the pressure to listen and the obligation to respond. —from the introduction by Claudia Rankine Claudia Rankine’s first published play, The White Card, poses the essential question: Can American society progress if whiteness remains invisible? Composed of two scenes, the play opens with a dinner party thrown by Virginia and Charles, an influential Manhattan couple, for the up-and-coming artist Charlotte. Their conversation about art and representations of race spirals toward the devastation of Virginia and Charles’s intentions. One year later, the second scene brings Charlotte and Charles into the artist’s studio, and their confrontation raises both the stakes and the questions of what—and who—is actually on display. Rankine’s The White Card is a moving and revelatory distillation of racial divisions as experienced in the white spaces of the living room, the art gallery, the theater, and the imagination itself.