Description

The first in-depth assessment of ‘re-vision’ as a phenomenon in women’s drama, examining the diverse ways in which classical myth narratives have been reworked by women playwrights for the European stage. This study explores the ideological and aesthetic potential of such practice and silmultaneously exposes the tensions inherent in attempts to challenge narratives that have fundamentally shaped western thought.

From tracing the persistence of classical myths in contemporary culture and the significance of this in shaping gendered identities and opportunities, through to analysis of individual plays and productions, Babbage reveals how myths have served in the theatre as ‘pretexts’ for ideological debate; enabling exploration of the fragile borders between mythic and the everyday and how revision has been regarded, not unproblematically, as a route towards restructuring the self.

This makes compelling reading for anyone interested in women’s writing for the theatre or wider practices of adaptation in literature and performance.

Re-Visioning Myth: Modern and Contemporary Drama by Women

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Hardback by Frances Babbage

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The first in-depth assessment of ‘re-vision’ as a phenomenon in women’s drama, examining the diverse ways in which classical myth... Read more

    Publisher: Manchester University Press
    Publication Date: 01/09/2011
    ISBN13: 9780719067525, 978-0719067525
    ISBN10: 719067529

    Number of Pages: 272

    Non Fiction

    Description

    The first in-depth assessment of ‘re-vision’ as a phenomenon in women’s drama, examining the diverse ways in which classical myth narratives have been reworked by women playwrights for the European stage. This study explores the ideological and aesthetic potential of such practice and silmultaneously exposes the tensions inherent in attempts to challenge narratives that have fundamentally shaped western thought.

    From tracing the persistence of classical myths in contemporary culture and the significance of this in shaping gendered identities and opportunities, through to analysis of individual plays and productions, Babbage reveals how myths have served in the theatre as ‘pretexts’ for ideological debate; enabling exploration of the fragile borders between mythic and the everyday and how revision has been regarded, not unproblematically, as a route towards restructuring the self.

    This makes compelling reading for anyone interested in women’s writing for the theatre or wider practices of adaptation in literature and performance.

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