By Geraldine Harris Elaine Aston
Relocating around the limitations of mainstream and experimental circuits, from the affective pleasures of commercially profitable indicates resembling Calendar ladies and Mamma Mia! to the feminist probabilities of new burlesque and stand-up, this publication deals a lucid and obtainable account of well known feminisms in modern theatre and function.
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Extra info for A Good Night Out for the Girls: Popular Feminisms in Contemporary Theatre and Performance
This ‘disarticulation’ refers to the devaluing, dismantling and negating of ‘alliances across the spectrum of left, feminism and anti-racist movements’ (ibid: 29), with the effect of ‘dispersing women across divisions of time and space, age and class, ethnicity and sexuality, so that those who otherwise might have found some common cause together are increasingly unlikely to do so’ (ibid: 52). For McRobbie the effect of this disarticulation is that the ‘model’ of femininity posited by postfeminism naturalises a white neoliberal bourgeois individualism (ibid: 25, 33, 45).
Doing so, it elicits a ‘commonality of feeling’ (hooks, 1994: 217) and of fearing that loss, akin to how Martha C. Nussbaum thinks philosophically of the ways in which emotionality underpins how ‘we acknowledge our own neediness and incompleteness before parts of the world that we do not fully control’ (2001: 19). Nussbaum’s cognitive view is resistant to the idea that emotions are ‘unthinking energies that simply push the person around, without being hooked up to the ways in which she perceives or thinks about the world’ (2001: 24).
Most of them might be surprised and even annoyed to find themselves subsumed within a ‘third wave’ let alone postfeminism, especially since Lotz explores this concept through reference to Ally McBeal and similar television shows primarily focused around white, middle-class femininity and, as she admits, showing evidence ‘of a residual [secondwave] liberal feminism’ (Lotz, 2001: 115). 8. This is a deliberate double meaning, playing on the word ‘race’. Christian argued that this ‘theory’ was distinctly ‘white’ in terms of reference and emphasis and represented another potential ‘exclusion’ of black voices and interests from the academy.
A Good Night Out for the Girls: Popular Feminisms in Contemporary Theatre and Performance by Geraldine Harris Elaine Aston