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© 2018

Rape on the Contemporary Stage

Book

Table of contents

  1. Front Matter
    Pages i-ix
  2. Lisa Fitzpatrick
    Pages 1-40
  3. Lisa Fitzpatrick
    Pages 181-211
  4. Lisa Fitzpatrick
    Pages 213-243
  5. Lisa Fitzpatrick
    Pages 245-255
  6. Back Matter
    Pages 257-281

About this book

Introduction

This book investigates the representation of rape in British and Irish theatre since the second wave of the Women’s Movement. Mainly focusing on the period from the 1990s to the present, it identifies key feminist debates on rape and gender, and introduces a set of ideas about the function of rape as a form of embodied, gendered violence to the analysis of dramaturgical and performance strategies used in a range of important and/or controversial works. The chapters explore the dramatic representation of consent; feminist performance strategies that interrogate common attitudes to rape and rape survivors; the use of rape as an allegory for political oppression; the relationships of vulnerability, eroticism and affect in the understanding and representation of sexual violence; and recent work that engages with anti-rape activism to present women’s personal experiences on stage.

Keywords

Representing rape in theatre Sexual violence in drama Post-feminist theory Post-gender discourse Miss Julie April de Angelis Eroticism and rape Women's studies Dramaturgical strategy Women playwrights

Authors and affiliations

  1. 1.University of UlsterDerryUnited Kingdom

About the authors

​Lisa Fitzpatrick is Senior Lecturer in Drama in the School of Arts and Humanities, University of Ulster, UK. She is a founding member of the Irish Society for Theatre Research, and the editor of Performing Feminisms in Contemporary Ireland (2013), Performing Violence in Contemporary Ireland (2010), Le théâtre irlandais au carrefour des modernités (Annuaire théâtral, 40), and Pre-, Past-, and Neo- Colonialisms: Wole Soyinka and Contemporary Theatre (Modern Drama, 45:3, 2002). 

Bibliographic information

Reviews

“Graduate students, scholars and professionals interested in gender representation in media might find this book useful to better understand how gender representations manifest themselves in media such as theatre.” (Morgan Danker, CBQ Communication Booknotes Quarterly, Vol. 51 (3-4), 2020)