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Numéro de rayon | Type de documentation | Copier | Emplacement en rayon | Statut |
|---|---|---|---|---|
| 792.082 23 | 1:E-BOOK | 1 | 1:ONLINE | Recherche en cours... Inconnu |
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Résumé
Résumé
A fascinating study of women in the arts, International Women Stage Directors is a comprehensive examination of women directors in twenty-four diverse countries. Organized by country, chapters provide historical context and emphasize how social, political, religious, and economic factors have impacted women's rise in the theatre, particularly in terms of gender equity. Contributors tell the stories of their home country's pioneering women directors and profile the most influential women directors practicing today, examining their career paths, artistry, and major achievements.
Contributors are Ileana Azor, Dalia Basiouny, Kate Bredeson, Mirenka Cechová, Marié-Heleen Coetzee, May Farnsworth, Anne Fliotsos, Laura Ginters, Iris Hsin-chun Tuan, Maria Ignatieva, Adam J. Ledger, Roberta Levitow, Jiangyue Li, Lliane Loots, Diana Manole, Karin Maresh, Gordon McCall, Erin B. Mee, Ursula Neuerburg-Denzer, Claire Pamment, Magda Romanska, Avra Sidiropoulou, Margaretta Swigert-Gacheru, Alessandra Vannucci, Wendy Vierow, Vessela S. Warner, and Brenda Werth.
Notes de l'auteur
Anne Fliotsos is a professor of theatre at Purdue University. Wendy Vierow is an educator, writer, and editor who has written and directed performance art and performed in works show internationally. They are the coauthors of American Women Stage Directors .
Critiques (3)
Critique de Booklist
This book is a unique examination of women in the arts, created as a reference point for students, researchers, and theater practitioners. Coverage focuses on female directors who live or work in 24 countries as diverse as the Czech Republic, Kenya, Taiwan, and the U.S. Each entry follows a specific structure: information about the historical context of women's rights in the particular country, a discussion of early women directors, notes on the working climate for women directors in the twenty-first century, and then profiles of contemporary directors. There are black-and-white photographs of directors scattered throughout the text. A list of sources follows each entry, and there is an index (not seen). Recommended for academic libraries supporting theater-arts programs.--Webb, Paula Copyright 2010 Booklist
Critique de CHOICE
Unlike the authors' earlier American Women Stage Directors of the Twentieth Century (CH, Dec'08, 46-1812), this internationally focused volume highlights women directors in a selection of 24 countries. Alphabetically arranged by country, the entries each offer an examination of the history of women's rights, followed by discussions of early women directors and the working climate of the 21st century, along with profiles of contemporary directors. The countries profiled are meant to be a cross-section from throughout the world; however, the choices are sometimes curious. For instance, Ireland is included, but not England. In order to add authenticity, the editors chose contributors who were once or currently are residents of the 24 countries. An introduction explains the approach and intent of the content, which is meant to be an overview rather than an in-depth study. The entries, which follow the same pattern, seem to be well researched and concise. Notes and bibliographies follow each entry, and many are enhanced with illustrations. Sidebars offer extra information in the form of biographies and essays, and the book includes a biographical list of contributors. It should serve as a starting point or basic overview for those interested in further study. Summing Up: Recommended. Lower- and upper-level undergraduates; general readers. M. Lawler Louisiana State University in Shreveport
Critique du Library Journal
Theater performed in non-English-speaking countries and in countries that were closed off for many years to outside travel, is often not documented in a way that is readily available to the researcher. Editors Fliotsos and Vierow (coauthors, American Women Stage Directors) have made this information easier to find through this one-volume resource. The book is arranged by country, some 24 in all, ranging from Mexico to Thailand and from Egypt to Romania; there are chapters as well on Cuba and Bulgaria, countries that, along with Romania, exemplify this type of performance. Students of theater will find many new plays to explore and data on new female pioneers that may well broaden their knowledge of the feminist movement in various regions. For example, pre- and post-independence theater in India was dominated by questions of national identity. Women were at the forefront of changing those questions to reflect gender and equality concerns, as well as issues of sexuality. The play Paccha Mannu (The Newborn) by A. Mangai wrestles with the cultural practice of infanticide and the abortion of female fetuses. Each chapter is written by a different academic, all with excellent credentials in theater and performance. VERDICT Recommended for readers interested in theater, women's studies, and cultural history.-Susan L. Peters, Univ. of Texas Medical Branch, Galveston (c) Copyright 2014. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.