Department of English

Given that there were no women in the origins of Western theatre, the concept of feminist theatre is relatively new. Ancient Greek and Elizabethan theatres excluded both female playwrights andactors. (Some scholars continue to debate whether women even attended Athenian plays.) Needless to say, feminist voices were not heard ... for quite some time. But when they emerged, these voices were—and are—hilarious, deadly serious, outrageous, poignant—and always provocative.

Feminist theatre encompasses many forms and strategies, including practical interventions via directing, acting, and design; ensemble-created work; solo performance art; and innovations in playwriting. One recurring strategy is the creation of adaptations that comment directly on classical plays devoid of feminist sensibility. Desdemona, a play about a handkerchief is Paula Vogel’s subversive reading of Shakespeare’s Othello, and John Proctor is the Villain is Kimberly Belflower’s recent, powerful rejoinder to Arthur Miller’s The Crucible. Feminist theatre also addresses nearly every social issue one might imagine, including (but not limited to): sexualities and relationships; gender identities; reproductive rights and pregnancy; marriage and motherhood; career and community; race and class; and patriarchy, power, and politics.

The primary focus of this course will be on the artistic provocateurs: the playwrights, performers, and their works. Additional readings will provide contextual background on feminist theatre theory and history. This critical-creative seminar will offer students the opportunity to help shape the conversation, and to pursue creative and/or research projects in their area(s) of interest. The class will take advantage of relevant events occurring on campus and in Philadelphia, and will potentially feature visits from guest artists/speakers.