Feminist Theatre Practices

What is feminism today, and how is it relevant for theatre and performance work? This class will serve as an introduction to the work of 20th and 21st century women playwrights, performance artists, and critical thinkers. We will confront feminism as a tool for reading and interpreting issues of gender and sexuality in plays and performances. We will also consider how, and to what extent, feminism influences practices of writing, performing, and spectatorship. Students will be expected to attend performances, read and write critically and perform their discoveries.

Contact Talya Kingston at tkIA@hampshire.edu.

Kingston_Feminist Theatre Practices

3 thoughts on “Feminist Theatre Practices

  1. Alker on Kingston “Feminist Theatre Practices”

    I was surprised as to how much of this work resonated with my own syllabus: from the legitimization of the topic in the opening description, to the choice of the hooks and the Weiss in the first weeks’ reading, to the initial engagement with the term “feminism.” I, too, have found that the first few classes must be devoted to situating feminism within a contemporary moment, and that making the subject relevant for students is an imperative first step. I was also intrigued as to how Professor Kingston negotiated the issue of theory and practice in the syllabus and the assignments. The phrase, “write critically and perform their discoveries” was particularly fetching. Finally, I am curious to know how the final “culminating public feminist performance/speak out/celebration” assignment materialized. To be a fly on that wall…

  2. This class seems like a wonderful opportunity for students to really think through the body and what it means to engage with the apparatus of the theatre from nearly every aspect (performing, writing, casting, directing, spectating). I like that students attend performances as well.

    The resonances between the “Feminist Theatre Practices” and “Feminism and Theatre” syllabi were strong indeed! I’m hoping that there will be time to discuss what those first classes are like and how the issue of contemporary relevance is processed for students with diverse experiences and opinions.

  3. I love so many things about this syllabus! The way you bridge the past and the present (both in terms of plays and theories) is excellent, and the assignments you have devised for this course are brilliant. The oral history project is so great. You are asking students to make connections between feminisms past and feminisms present, and having them perform the interviews they conduct asks them to embody various perspectives on feminisms (perhaps some that conflict with their own?). I think it is really important that the performances are site-specific, requiring them to engage with the campus itself through a feminist lens. Also, having the students come up with a pitch for a protest performance asks them to declare that a particular issue is relevant and makes an argument for the continued urgency of feminism (and the transformative potential of feminist performance). So fabulous that the class got to do a workshop with Sharon Bridgforth; she is amazing! Because my own work takes up contemporary experimental theatre in NYC, I am selfishly interested in your class’s response to ERS’s Arguendo—such a great piece to analyze through a feminist lens!

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