Women Writing Plays: Three Decades of the Susan Smith by Alexis Greene, Marsha Norman, Emilie S. Kilgore
By Alexis Greene, Marsha Norman, Emilie S. Kilgore
Women's playwriting burgeoned within the usa and the uk as a part of the feminist flow of the Seventies. Ever when you consider that, playwriting ladies were embracing new topics, experimenting with shape, and devising new methods of taking a look at the area. To honor their achievements and encourage destiny endeavors, the Susan Smith Blackburn Prize used to be proven in reminiscence of an American actor, journalist, and feminist who died of breast melanoma. within the approximately 3 many years of the award's life, greater than 300 English-speaking girls playwrights were finalists for the Blackburn Prize in acceptance in their paintings, together with such renowned writers as Marsha Norman, Cheryl L. West, Wendy Wasserstein, Caryl Churchill, Paula Vogel, and Suzan-Lori Parks.
This quantity bargains a finished evaluation of women's playwriting, in addition to a party of the Susan Smith Blackburn Prize. It combines severe essays, playwrights' memoirs, and conversations and interviews with playwrights to discover how women's playwriting advanced on the subject of the women's flow and the way it maintains to map new territory and locate clean modes of expression. the vast majority of participants to this volume—playwrights, arts newshounds, and theater critics—have had a few connection to the Blackburn Prize, both as award recipients, play readers, or judges. The memoirs, conversations, and interviews come from the various best girls playwrights of the final 3 a long time. those dramatists supply attention-grabbing perception into the playwriting artwork, theatrical careers, and women's targets in writing for the theater.
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Extra info for Women Writing Plays: Three Decades of the Susan Smith Blackburn Prize (Louann Atkins Temple Women & Culture Series)
In 1975 WTG established an outreach policy of taking its productions to teenage audiences, beginning with a collectively created piece, My Mother Says, about teenage sex and contraception, followed by Work to Role (1976), about teenage job possibilities and sexism in the trade unions. Their next play, Out! On the Costa Del Trico (1977), was about a topical industrial dispute involving women striking because they were paid less than men for the same job. WTG—one of the ﬁrst avowedly feminist companies to gain national recognition—has been guided by the basic principle that the personal is political, that home and family and work are inextricably linked.
Here, Alice, a poet who long ago abandoned her ten-year-old daughter, Jenny, for the greater freedom of the expatriate life, has returned home to Detroit and the house she inherited from her own mother. Jenny, now a grown woman and pregnant, is also living in the house and throughout the play is in the early stages of labor. Alice is dying from cancer, and Jenny desperately recognizes that this is her last chance to reach out to her and to ﬁnd out why Alice abandoned her. Alice resists Jenny’s attempts to establish a connection between them.
In the United States, Alice Gerstenberg and Susan Glaspell explored women’s private lives and psychological frustrations. During a renaissance of black American writing, roughly from 1910 to 1940, women such as Georgia Douglas Johnson, Mary P. Burrill, Marita Bonner, and May Miller wrote plays about African American life that were produced in community theaters, churches, and other places where black Americans gathered. The 1920s saw a rise in the number of white female playwrights produced commercially.