Home > Research > Publications & Outputs > Moving Women Centre Stage

Electronic data

  • Moving submission ready for proofing

    Rights statement: © 2017 Walter de Gruyter GmbH, Berlin/Boston.

    Accepted author manuscript, 562 KB, PDF document

    Available under license: CC BY-NC: Creative Commons Attribution-NonCommercial 4.0 International License

Links

Text available via DOI:

View graph of relations

Moving Women Centre Stage: Structures of Feminist-Tragic Feeling

Research output: Contribution to journalJournal article

Published

Standard

Moving Women Centre Stage : Structures of Feminist-Tragic Feeling . / Aston, Elaine Frances.

In: Journal of Contemporary Drama in English , Vol. 5, No. 2, 27.10.2017.

Research output: Contribution to journalJournal article

Harvard

APA

Vancouver

Author

Aston, Elaine Frances. / Moving Women Centre Stage : Structures of Feminist-Tragic Feeling . In: Journal of Contemporary Drama in English . 2017 ; Vol. 5, No. 2.

Bibtex

@article{1508ec4b4b3040a9afddb87028cb820a,
title = "Moving Women Centre Stage: Structures of Feminist-Tragic Feeling",
abstract = "In September 2015, Vicky Featherstone, Artistic Director of London’s Royal Court Theatre, was widely reported in the British press as commenting on the lack of female roles equivalent in stature to the tragic figures of Shakespeare’s Lear and Hamlet, or Miller’s Willy Loman. Her observation that audiences are more “comfortable” with a “male narrative” sparked considerable debate. My article engages with and develops this debate by turning a feminist gaze on two plays in Featherstone’s Royal Court repertoire: Penelope Skinner’s Linda and Zinnie Harris’s How to Hold Your Breath, both of which premiered in 2015. Mapping feminist thinking on to Raymond Williams’s reflections on “modern tragedy,” I conceive of a feminist-tragic feeling as crossing the divide between the political and the tragic. Formally, I argue this encourages a move away from the generically-bound categorisation of tragedy with its attendant definitions and theories, and makes it possible to think in more expansive, fluid, genre-crossing ways of what Rita Felski terms a “tragic sensibility.” Ultimately, through close readings of Linda and How to Hold Your Breath, I argue how each structures a feminist-tragic feeling for a world in which Western privilege has repeatedly failed to democratise.",
author = "Aston, {Elaine Frances}",
note = "{\circledC} 2017 Walter de Gruyter GmbH, Berlin/Boston.",
year = "2017",
month = "10",
day = "27",
doi = "10.1515/jcde-2017-0027",
language = "English",
volume = "5",
journal = "Journal of Contemporary Drama in English",
issn = "2195-0164",
publisher = "De Gruyter",
number = "2",

}

RIS

TY - JOUR

T1 - Moving Women Centre Stage

T2 - Structures of Feminist-Tragic Feeling

AU - Aston, Elaine Frances

N1 - © 2017 Walter de Gruyter GmbH, Berlin/Boston.

PY - 2017/10/27

Y1 - 2017/10/27

N2 - In September 2015, Vicky Featherstone, Artistic Director of London’s Royal Court Theatre, was widely reported in the British press as commenting on the lack of female roles equivalent in stature to the tragic figures of Shakespeare’s Lear and Hamlet, or Miller’s Willy Loman. Her observation that audiences are more “comfortable” with a “male narrative” sparked considerable debate. My article engages with and develops this debate by turning a feminist gaze on two plays in Featherstone’s Royal Court repertoire: Penelope Skinner’s Linda and Zinnie Harris’s How to Hold Your Breath, both of which premiered in 2015. Mapping feminist thinking on to Raymond Williams’s reflections on “modern tragedy,” I conceive of a feminist-tragic feeling as crossing the divide between the political and the tragic. Formally, I argue this encourages a move away from the generically-bound categorisation of tragedy with its attendant definitions and theories, and makes it possible to think in more expansive, fluid, genre-crossing ways of what Rita Felski terms a “tragic sensibility.” Ultimately, through close readings of Linda and How to Hold Your Breath, I argue how each structures a feminist-tragic feeling for a world in which Western privilege has repeatedly failed to democratise.

AB - In September 2015, Vicky Featherstone, Artistic Director of London’s Royal Court Theatre, was widely reported in the British press as commenting on the lack of female roles equivalent in stature to the tragic figures of Shakespeare’s Lear and Hamlet, or Miller’s Willy Loman. Her observation that audiences are more “comfortable” with a “male narrative” sparked considerable debate. My article engages with and develops this debate by turning a feminist gaze on two plays in Featherstone’s Royal Court repertoire: Penelope Skinner’s Linda and Zinnie Harris’s How to Hold Your Breath, both of which premiered in 2015. Mapping feminist thinking on to Raymond Williams’s reflections on “modern tragedy,” I conceive of a feminist-tragic feeling as crossing the divide between the political and the tragic. Formally, I argue this encourages a move away from the generically-bound categorisation of tragedy with its attendant definitions and theories, and makes it possible to think in more expansive, fluid, genre-crossing ways of what Rita Felski terms a “tragic sensibility.” Ultimately, through close readings of Linda and How to Hold Your Breath, I argue how each structures a feminist-tragic feeling for a world in which Western privilege has repeatedly failed to democratise.

U2 - 10.1515/jcde-2017-0027

DO - 10.1515/jcde-2017-0027

M3 - Journal article

VL - 5

JO - Journal of Contemporary Drama in English

JF - Journal of Contemporary Drama in English

SN - 2195-0164

IS - 2

ER -