Description
Book SynopsisThis book looks at how a range of women in the theatre - actors, managers, writers and live artists - have used, and still use, autobiography and performance as both a means of expression and control of their private and public selves on the page and on the stage from the late eighteenth century to the present day.
Table of ContentsAcknowledgements
Notes on contributors
Introduction - Women, theatre and performance: Auto/biography and performance - Maggie B. Gale & Viv Gardner
Part 1: Telling tales: Autobiographic strategies
1. The three nobodies: Autobiographical strategies in the work of Alma Ellerslie, Kitty Marion and Ina Rozant - Viv Gardner
2. The disappearing subject in Susan Glaspell's auto/biographical theatre - Nicola Shaugnessy
Imag(in)ing a life: Adrienne Kennedy's 'People Who Led to My Plays' and 'Deadly Triplets' - Elaine Aston
Part 2: The professional/confessional self
3. The way to the world: Emma Robinson and the dilemmas of identity - Susan Croft
4. Lena Ashwell and auto/biographical negotiations of the professional self - Maggie B. Gale
5. Tilly Wedekind and Lulu: The role of her life or the role in her life? - Bella Merlin
6. Troubling identities: Claire Dowie's 'Why is John Lennon Wearing a Skirt?' - Gabriele Griffin
Part 3: Auto/biography. Identity and performance
7. Latina theatre and performance: Acts of exposure - Caridad Svich
8. Being her: presence, absence and performance in the art of Janet Cardiff and Tracy Emin - Jen Harvie
9. Peforming lesbians: Constructing the self, constructing the community - Dee Heddon
10. Re(ci)petoires of the self: Autobiographical aspects of Bobby Baker's performance works. Bobby Baker interview - Catharine Maclean Hopkins
