Abstract
Theater is a political practice. By this, I do not mean that all theater is self-consciously militant, but that all theater is influenced by the political systems at work in a society. It is impossible to separate any work of art from the social conditions of the time when it was created, whether it simply reflects the mainstream constructs of the day or challenges those constructs. Theater is no exception. The very public nature of most theatrical practice makes it all the more subject to the vicissitudes of society. Any given performance not only involves the collaboration of writers, directors, actors, designers, and technicians, but also depends on publishers, critics, spectators, financiers, and the government.A play that may appear harmlessly to depict the status quo in one time and place may be conĀsidered subversive in another. A work forbidden by the censors of one government may enjoy the moral and financial support of another.A perĀformance that speaks to the social reforms at the turn of the century will most likely seem irrelevant 50 years later.
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Notes
See Amy Blythe Millstone, āFeminist Theatre in France: 1870ā1914,ā Diss. U of Wisconsin-Madison, 1977
Michel Corvin, āLe boulevard en question,ā Le ThĆ©Ć¢tre en France Vol. 2 ( Paris: Armand Colin, 1989 ), 347ā349.
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Ā© 2005 Cecilia Beach
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Beach, C. (2005). Introduction: Theater, Politics, and Gender. In: Staging Politics and Gender. Palgrave Macmillan, New York. https://doi.org/10.1057/9781403978745_1
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DOI: https://doi.org/10.1057/9781403978745_1
Publisher Name: Palgrave Macmillan, New York
Print ISBN: 978-1-349-52917-9
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