Use this URL to cite or link to this record in EThOS: https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.792226
Title: Interrogation of a new feminist dramaturgy
Author: De Angelis, April
ISNI:       0000 0004 8497 8240
Awarding Body: Royal Holloway, University of London
Current Institution: Royal Holloway, University of London
Date of Award: 2014
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Abstract:
My stated aim of this thesis Interrogating a New Feminist Dramaturgy was to use the French psychoanalytic post-structuralists, Cixous, Irigaray and Kristeva to think through the possibilities of a practice of feminist dramaturgy. Cixous' conceit of an ecriture feminine was a provocation to examine all three theorists in relation to the possibilities of a radical re-writing of the feminine on stage. I begin by outlining the three theorists. Chapter one is an analysis of The Positive Hour, a play I had written in 1997, in relation to French psychoanalytic post-structuralists with particular reference also to Susan Faludi's text Backlash in order to ascertain the nature of my representations of gender on stage. Chapter two examines Caryl Churchill's play A Number (2002) in relation to Irigaray's dethroning of specularity and the patriarchal cogito. Chapter three considers the work of Sarah Kane, in particular 4.48 Psychosis (1999) and interrogates its representations of gender with reference to the work of Kristeva, particularly Soleil Noir. Chapter four specifically analyses Heart's Desire ( 1997) by Caryl Churchill and Sarah Kane's Phaedra's Love (1996), Cleansed (1998) and Crave (1998 ) in relation to primarily Cixous' notion of alterity and interrogates the possibilities inherent in these works for deconstructing phallogocentric binaries. As part of considering the possibilities of a feminist dramaturgical practice I wrote a play entitled After Electra which is submitted as part of the PHD. This is accompanied by a piece of analytical writing to assess the strategies I have employed as a writer. A shorter piece Actress in Search of a Character is also accompanied by an analysis. Overall the thesis argues that theatrical form is implicated in patriarchal structures of subject formation and it explores the possibilities of reimagining gender relations through a renegotiation of theatrical form.
Supervisor: Not available Sponsor: Not available
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID: uk.bl.ethos.792226  DOI: Not available
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