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The first book of its kind, examining how a range of women in the theatre have used autobiography and performance as a means of expression and control over their professional and private selves A groundbreaking work, which makes new connections between texts and performances, past and present practitioners, professional and private selves, and individuals and communities The editors have drawn on a vast range of new material from three centuries A landmark contribution to theatre history and performance analysis, gender and cultural theory and autobiographical studies
This groundbreaking book shows how female performers have used autobiography and performance as both a means of expression and control of their private and public selves, the "face and the mask." It looks at how actors, managers, writers and live artists have done this on the page and on the stage from the late eighteenth-century to the present day, testing the boundaries between gender, theatre and autobiographical form. This book facilitates connections--between texts and performances, past and present practitioners, professional and private selves, individuals and communities--all of which have in some way renegotiated identity through autobiography and the creative act.
This groundbreaking book shows how female performers have used autobiography and performance as both a means of expression and control of their private and public selves, the "face and the mask." It looks at how actors, managers, writers and live artists have done this on the page and on the stage from the late eighteenth-century to the present day, testing the boundaries between gender, theatre and autobiographical form. This book facilitates connections--between texts and performances, past and present practitioners, professional and private selves, individuals and communities--all of which have in some way renegotiated identity through autobiography and the creative act.