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"Aston, Elaine"
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Moving Women Centre Stage: Structures of Feminist-Tragic Feeling
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
and Zinnie Harris’s
, 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
and
, I argue how each structures a feminist-tragic feeling for a world in which Western privilege has repeatedly failed to democratise.
Journal Article
Agitating for Change: Theatre and a Feminist ‘Network of Resistance’
Focusing on the UK, where feminism is gaining momentum through multiple sites of activist dissent from a neoliberal hegemony, my primary concern in this article is to understand how, given this renewal of feminist energies, theatre might be able to play its part in agitating for change. Inspired by Chantal Mouffe's compelling description of a ‘network of resistance’, as a possible way forward I conceive of theatre politically as a series of heterogeneously formed sites of oppositional and affirmative activity, each linked into articulating dissent from neoliberalism and the desire for socially progressive change. This provides the critical framework for my engagement with three radically diverse performances ranging from new playwriting (Lucy Kirkwood's NSFW), through the flash mob (Eve Ensler's One Billion Rising campaign), to the West End musical Made in Dagenham.
Journal Article
The Cambridge Companion to Modern British Women Playwrights
This Companion, first published in 2000, addresses the work of women playwrights in Britain throughout the twentieth century. The chapters explore the historical and theatrical contexts in which women have written for the theatre and examine the work of individual playwrights. A chronological section on playwriting from the 1920s to the 1970s is followed by chapters which raise issues of nationality and identity. Later sections question accepted notions of the canon and include chapters on non-mainstream writing, including black and lesbian performance. Each section is introduced by the editors, who provide a narrative overview of a century of women's drama and a thorough chronology of playwriting, set in political context. The collection includes essays on the individual writers Caryl Churchill, Sarah Daniels, Pam Gems and Timberlake Wertenbaker as well as extensive documentation of contemporary playwriting in Wales, Scotland and Northern Ireland, including figures such as Liz Lochhead and Anne Devlin.
eBook
Feeling the Loss of Feminism: Sarah Kane's \Blasted\ and an Experiential Genealogy of Contemporary Women's Playwriting
This essay disinters Blasted, the highly controversial debut play by Sarah Kane, from a masculinist cult of \"in-yer-face-ism\" in order to propose a genealogy of contemporary women's playwriting on the British stage characterized by an experiential drive to feeling the loss of feminism. Taking Blasted as a seminal point of reference, an experiential genealogy of women's writing is constructed by looking back at work by Rebecca Prichard and Judy Upton, and forward to millennial women's drama—in particular to politically angry newcomer debbie tucker green, whose theatre is examined as a savage critique of a world scarred by an acute lack of altruistic feeling for \"others.\" The essay concludes with brief reflections on the efforts made by new women writers to claim a space on the British stage.
Journal Article
Editorial: Looking Back
This is my final issue for Theatre Research International. Handing over to Charlotte Canning as Senior Editor and Paul Rae as Assistant Editor, I want to wish them every future success with the journal. At the same time, I would like to thank everyone involved in the journal over the last three years, from those who submitted articles to those who contributed invaluable, behind-the-scenes labour – the editorial board, books-reviewing team and peer reviewers. A special thanks to Cambridge University Press for the assistance they provided with all aspects of the production process – especially to James Carr who has overseen each and every issue during my term of office. Leaving the editorship of the journal, I am pleased to note its buoyant subscription and submission rates – its revenue, despite the global, economic recession, continues to rise, while the number of articles offered for review has doubled over the course of the last three years.
Journal Article
Editorial: Aesthetics, Politics and the Public Sphere
Aesthetics. Politics. The Public Sphere. These emerge as connective headlines in this edition of TRI. Taken as a whole, the articles provoke key critical questions about the choice of aesthetics in relation to the potentiality of theatre's transformative capacities, and also about how the possibilities (and limitations) of the transformational power that theatre is commonly deemed to be capable of are conditioned by the kind of role theatre and performance have or are permitted to have in the public sphere.
Journal Article