"Greeley has assembled a very large ‘cast’ of female artists: their ranks include the ‘first feminists’ (p. 215) Megan Terry and Bobbi Ausubel; Martha Boesing, cofounder of the feminist Minneapolis theatre company, At the Foot of the Mountain; Spiderwoman Theater, the Indigenous all-female (and all family) company; and commercially successful representatives of ‘third-wave’ feminism, such as playwrights Eve Ensler, Rivka Solomon, and Sarah Ruhl. Greeley also discusses the work of playwrights and performers who challenge not just the masculinity of American theatre but confront its whiteness and hetero-normativity: Latina playwright Caridad Svich; African American playwright Lynn Nottage; and artists Adelina Anthony, Young Jean Lee, and Najla Said, who (respectively) work from the perspectives of Ch/Xicana, queer, Asian American,and Arab/Palestinian American theatre and performance. Greeley brings to her research a deep-rooted knowledge of both American theatre history and feminist work’s place within it. Throughout the book she stresses women’s choices, their agency and activism, in crafting female or female-identified characters, ones made in the face of an art form and profession that has historically been dominated by men. ... students of American theatre history, American women’s and gender history, and the histories of American feminism will have much to learn from Greeley’s own fearless approach to her subject.” —Women’s History Review
Fearless Femininity by Women in American Theatre (1910s to 2010s) by Lynne Greeley
This comprehensive tome, part of the Cambria Contemporary Global Performing Arts headed by John Clum (Duke University) is an essential addition for theater studies and women's studies.
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