Lotte Jones, a doll repair expert, needs a vacation. She books herself on a cultural tour for singles and travels with them to modern-day Troy, where she finds more of a change of scene than she'd bargained for. She's in the midst of an attack by the Greek army threatening to destroy the last fragments of a mighty civilization. When the camp is torched, the women are enslaved and Lotte is rescued by the British Embassy. Her life returns to normal-until a revenge-obsessed Hecuba claws her way up through the centuries into Lotte's doll shop, in search of her murdered children's bodies.
Re-visioning the classics, often in a subversive mode, has evolved into its own theatrical genre in recent years, and many of these productions have been informed by feminist theory and practice. This book examines recent adaptations of classic texts (produced since 1980) influenced by a range of feminisms, and illustrates the significance of historical moment, cultural ideology, dramaturgical practice, and theatrical venue for shaping an adaptation. Essays are arranged according to the period and genre of the source text re-visioned: classical theater and myth (e.g. Antigone, Metamorphoses), Shakespeare and seventeenth-century theater (e.g. King Lear, The Rover), nineteenth and twentieth century narratives and reflections (e.g. The Scarlet Letter, Jane Eyre, A Room of One’s Own), and modern drama (e.g. A Doll House, A Streetcar Named Desire).
Hypertheatre: Contemporary Radical Adaptation of Greek Tragedy investigates the adaptation of classical drama for the contemporary stage and explores its role as an active, polemical form of theatre which addresses present-day issues. The book’s premise is that by breaking drama into constituent parts, revising, reinterpreting and rewriting to create a new, culturally and politically relevant construct, the process of adaptation creates a 'hyperplay', newly repurposed for the contemporary world. This process is explored through a diverse collection of postmodern adaptations of Antigone, Medea, and The Trojan Women, analysing their adaptive strategies and the evidence of how these remakings reflect the cultures of which they are a part. Central to this study is the idea that each of these adaptations becomes an entirely new play, redefining its central female figures and invoking reconfigurations of femininity which emphasise individual women’s strengths and female solidarity. Written for scholars of Theatre, Adaptation, Performance Studies, and Literature, Hypertheatre places the Greek classics firmly within a contemporary feminist discourse.
WAR PLAYS by Christine Evans collects for the first time three of this US-based, UK-Australian playwright's remarkable plays about war and aftermath: Trojan Barbie, Mothergun and Slow Falling Bird. With an introduction by esteemed filmmaker Peter Davis, this collection is a terrific introduction to Evans' astute theatrical voice.
Abstract: The issues addressed by the writers of fifth-century B.C. Athens continue to have great relevance for the contemporary world. This research focuses on the gender dynamics of the plays and how contemporary revisions by women offer new ways of considering these classic texts. Greek drama is known for its strong and vibrant female characters. I use Euripides' three Greek tragedies--Medea, The Trojan Women, and The Bacchae--as the source texts for new versions of the plays by women writers. I draw on Lynda Hart's triad of dramaturgical sites that define a feminist dramaturgy: women's bodies, language, and theatrical space. Chapter two focuses on four revisions of Medea: Franca Rame's Medea (1981), Jackie Crossland's Collateral Damage (1991), Deborah Porter's No More Medea (1990), and Marina Carr's By the Bog of the Cats (1998). Unlike the character of Medea in Euripides' play, who discusses Greek honor with heroic language, Rame's Medea uses a dialect of central Italy, and Carr's Hester, a stand-in for Medea, uses an Irish dialect illustrating that Medea is not an icon of monstrous motherhood but a particular woman suffering in the patriarchal world. These versions of Medea enter the stage to tell their side of the mythic story of maternal infanticide. Instead of a conventional deus ex machina saving Medea from her miserable circumstance through divine intervention, these contemporary Medeas show the potency of female action and declare their own destiny. In chapter three I consider three works all written and produced in this century based on The Trojan Women: Christine Evans' Trojan Barbie (2010), Caroline Bird's Trojan Women: After Euripides (2012) and Kaite O'Reilly's Peeling (2002). These works symbolically stage women's bodies as imprisoned and wounded by war, using various props and settings: broken dolls' bodies and a confined wild tiger in Trojan Barbie, a single pregnant woman tied to her hospital bed as the Chorus in Trojan Women: After Euripides, and disabled actresses trapped in their multi-layered costumes and confined to an unlit backstage in Peeling. All three playwrights suggest a similar message: if babies cannot be protected and if powerless mothers are expected to take responsibility for these vulnerable children against the violence of male-initiated and maintained conflict, tragedy is the only possibility. I examine three works by British writers in chapter four who use The Bacchae as their source material: Maureen Duffy's Rites (1969), Caryl Churchill and David Lan's Mouthful of Bird (1986), and Bryony Lavery's Kitchen Matters (1991). These playwrights are interested in issues related to possession and madness as a means for empowerment under social oppression. In these plays the writers utilize the theatrical space in diverse ways: the female characters in Rites experience divine possession as a group in an isolated place, the women's lavatory; in A Mouthful of Birds each character goes through transformative madness within a two-level set composed of small box-like rooms; Kitchen Matters is at once a domestic kitchen and at the same time the literal stage of Gay Sweatshop during a funding crisis, ending this work with an analysis of the role of mothers in many of the plays.
The eyes of the world are watching A powerful world leader is expected to join the Hollywood elite at a star-studded ceremony to be broadcast around the globe. But security has been severely compromised -- and a plot is already in motion to turn the Los Angeles Chamberlain Auditorium into a gruesome slaughterhouse. When an on-line "Trojan Horse" detected by the CTU cyber unit sends up red flags, rogue operative Jack Bauer is called into action. He has less than twenty-four hours to prevent an unthinkable act of death and destruction from occurring -- a televised massacre intended to topple a foreign government and bring terror into millions of American households. The countdown is on.
Brings together new media theorists, game designers, educators, psychologists and industry professionals, including some of the contributors to the earlier volume, to look at how gender intersects with the broader contexts of digital games today.
Whether in the home or in the public arenas of media, work, sports, politics, art or religion, women often become embroiled as subjects in the political, social, and cultural debates in America. People on all areas of the political landscape see women in diverse and conflicting ways -- as either too liberated or not liberated enough, or whether and how gender and sexual roles are rooted in either biology or culture. Battleground: Women, Gender, and Sexuality helps readers navigate contemporary issues and debates pertaining to women's lives in the United States and globally. This work examines how science and culture intertwine to influence how we think about our identities, desires, relationships, and societal roles today. Battleground: Women, Gender, and Sexuality comprises lengthy, in-depth discussions of the most timely issues that are debated in today's culture, such as: Birth Control BLComparable Worth BLDisability and Gender BLGlass Ceiling BLImmigration BLPlastic Surgery, Tatooing, and Piercing BLSame-Sex Marriage BLSexual Assault and Sexual Harrassment Each essay provides a balanced overview of these hot-button topics, and a list of works for Further Reading after each entry serves as a stepping-stone to more in-depth material for students who are writing papers or researching reports.
Out of Place & Time, Vol. 2, is an anthology of plays by six members of the Women's Project Lab. It's a snapshot of some of the most ambitious work incubating in New York and a diverse compilation of plays for directors and actors seeking exciting contemporary work to explore. With a hilarious and biting intro by Theresa Rebeck that challenges the American theater to celebrate and produce its women playwrights, Vol. 2 showcases writers whose voices sing our world with wit, passion and daring. Bekah Brunsetter's Le Fou teases out the destructive dance between love and vanity. Kara Manning's Sleeping Rough forms a blues ballad for souls displaced between lives. Alexis Clements' Conversation cleverly interrogates the science of speech, while Nadia Davids' At Her Feet plays out another kind of linguistic music, that of six very different Muslim women from Cape Town. Carla Ching's TBA plays with the power of naming, and Andrea Thome's Undone offers a polyphonic love poem to a city crowded with the living and dead.