Relevant bibliographies by topics / Feminism and theater Australia

Academic literature on the topic 'Feminism and theater Australia'

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Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Feminism and theater Australia"

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Fensham, Rachel. "Farce or Failure? Feminist Tendencies in Mainstream Australian Theatre." Theatre Research International 26, no. 1 (March 2001): 82–93. http://dx.doi.org/10.1017/s0307883301000086.

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A feminist analysis of the repertoire written and directed by women within mainstream Australian theatre at the end of the millennium reveals that, in spite of thirty years of active feminism in Australia, as well as feminist theatre criticism and practice, the mainstream has only partially absorbed the influence of feminist ideas. A survey of all the mainland state theatre companies reveals the number of women making work for the mainstream and discusses the production politics that frames their representation as repertoire. Although theatre has become increasingly feminized, closer analysis reveals that women's theatre is either contained or diminished by its presence within the mainstream or utilizes conventional theatrical genres and dramatic narratives. Feminist theatre criticism, thus, needs to become more concerned with the material politics of mainstream culture, in which gender relations are being reconstructed under the power of a new economic and social order.
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VARNEY, DENISE. "Identity Politics in Australian Context." Theatre Research International 37, no. 1 (January 26, 2012): 71–73. http://dx.doi.org/10.1017/s0307883311000794.

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Identity mobilises feminist politics in Australia and shapes discursive and theatrical practices. Energised by the affirmative politics of hope, celebration and unity, Australian feminism is also motivated by injustice, prejudice and loss, particularly among Indigenous women and minorities. During the 1970s, when feminist theatre opened up creative spaces on the margins of Australian theatre, women identified with each other on the basis of an unproblematized gender identity, a commitment to socialist collectivism and theatre as a mode of self-representation. The emphasis on shared experience, collectivism and gender unity gave way in the 1980s to a more nuanced critical awareness of inequalities and divisions among women based on sexuality, class, race and ethnicity. My discussion spans broadly the period from the 1970s to the present and concludes with some commentary on recent twists and turns in identity politics.
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D'Cruz, Glenn. "‘Class’ and Political Theatre: the Case of Melbourne Workers Theatre." New Theatre Quarterly 21, no. 3 (July 18, 2005): 207–17. http://dx.doi.org/10.1017/s0266464x05000114.

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Traditionally, class has been an important category of identity in discussions of political theatre. However, in recent years the concept has fallen out of favour, partly because of changes in the forces and relations of capitalist production. The conventional Marxist use of the term, which defined an individual's class position in relation to the position they occupied in the capitalist production process, seemed anachronistic in an era of globalization. Moreover, the rise of identity politics, queer theory, feminism, and post-colonialism have proffered alternative categories of identity that have displaced class as the primary marker of self. Glenn D'Cruz reconsiders the role of class in the cultural life of Australia by examining the recent work of Melbourne Workers Theatre, a theatre company devoted to promoting class-consciousness, in relation to John Frow's more recent re-conceptualization of class. He looks specifically at two of the company's plays, the award-winning Who's Afraid of the Working Class? and The Waiting Room, with reference to Frow's work on class, arguing that these productions articulate a more complex and sophisticated understanding of class and its relation to politics of race and gender today. Glenn D'Cruz teaches drama and cultural studies at Deakin University, Australia.
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DIAMOND, ELIN, NOBUKO ANAN, DENISE VARNEY, KATRIN SIEG, BISHNUPRIYA DUTT, and TIINA ROSENBERG. "Identity Politics Forum." Theatre Research International 37, no. 1 (January 26, 2012): 63. http://dx.doi.org/10.1017/s030788331100085x.

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Introduced, compiled and edited by Elin Diamond, this forum brings together feminist theatre/performance scholars to revisit the question of identity politics. Does it still have currency? Does it still matter for feminists today? In what theatre and performance contexts do we still discuss identity politics? Following an overview (from a US perspective) of past and present concerns by Elin Diamond, the forum voices a range of international views as contributors consider identity politics, theatre and performance in their countries of origin: Nobuko Anan (Japan), Denise Varney (Australia), Katrin Sieg (Germany), Bishnupriya Dutt (India) and Tiina Rosenberg (Sweden).
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Gilbert, Helen, Peta Tait, Venetia Gillot, Julie Holledge, Anna Messariti, Lydia Miller, and Mary Moore. "Converging Realities: Feminism in Australian Theatre." Theatre Journal 47, no. 3 (October 1995): 430. http://dx.doi.org/10.2307/3208908.

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Mitchell, Tony. "Doppio: a Trilingual Touring Theatre for Australia." New Theatre Quarterly 8, no. 29 (February 1992): 70–75. http://dx.doi.org/10.1017/s0266464x00006333.

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Doppio is a theatre company which uses three languages – English, Italian, and a synthetic migrant dialect it calls ‘Emigrante’ – to explore the conditions of the large community of Italian migrants in Australia. It works, too, in three different kinds of theatrical territory, all with an increasingly feminist slant – those of multicultural theatrein-education; of community theatre based in the Italian clubs of South Australia; and of documentary theatre, exploring the roots and the past of a previously marginalized social group. The company's work was seen in 1990 at the Leeds Festival of Youth Theatre, but its appeal is fast increasing beyond the confines of specialisms, ethnic or theatric, and being recognized in the ‘mainstream’ of Australian theatrical activity. Tony Mitchell – a regular contributor to NTQ, notably on the work of Dario Fo – who presently teaches in the Department of Theatre Studies in the University of Technology in Sydney, here provides an analytical introduction to the company's work, and follows this with an interview with one of its directors and co-founders, Teresa Crea.
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Tait, Peta. "Danger Delights: Texts of Gender and Race in Aerial Performance." New Theatre Quarterly 12, no. 45 (February 1996): 43–49. http://dx.doi.org/10.1017/s0266464x00009611.

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Circus artists, especially aerial performers and wire-walkers, transgress and reconstruct the boundaries of racial and gender identity as part of their routine. In the following article, Peta Tait analyzes the careers of two twentieth-century Australian aerialists of Aboriginal descent who had to assume alternative racial identities to facilitate and enhance their careers. Both Con Colleano, who became a world-famous wire-walker in the 1920s, and Dawn de Ramirez, a side-show and circus aerialist who worked in Europe in the 1960s, undermined the social separation of masculine and feminine behaviours in their acts. Theories of the body and identity, including those of Foucault and Judith Butler, inform this critique of the performing body in circus. The author, Peta Tait, is a playwright and drama lecturer at the University of New South Wales. She is author of Original Women's Theatre (1993) and Converging Realities: Feminism in Australian Theatre (1994).
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VARNEY, DENISE. "White-out: Theatre as an Agent of Border Patrol." Theatre Research International 28, no. 3 (October 2003): 326–38. http://dx.doi.org/10.1017/s0307883303001160.

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In Australia in 2001, there was a marked escalation of debates about nation, national identity and national borders in tandem with a right-wing turn in national politics. Within the cultural context of debate about national identity, popular theatre became an unwitting ally of neo-conservative forces. Within popular theatre culture, the neo-conservative trend is naturalized as the view of the Anglo-Celtic-European mainstream or core culture that also embraces and depoliticizes feminist debates about home and family. Elizabeth Coleman's 2001 play This Way Up assists in the production of an inward-looking turn in the national imaginary and a renewed emphasis on home and family. The performance dramatizes aspects of what we are to understand as ordinary Australian life which might be interpreted as that which Prime Minister John Howard defends in the name of the National Interest. The cultural imaginary that shapes the production of the popular play is that of the conservative white national imaginary.
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Varney, Denise. "‘Droughts and Flooding Rains’: Ecology and Australian Theatre in the 1950s." New Theatre Quarterly 38, no. 4 (October 18, 2022): 319–32. http://dx.doi.org/10.1017/s0266464x22000239.

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This article uses historical-ecological insights for a re-reading of two little-known mid-twentieth-century Australian plays, Oriel Gray’s The Torrents and Eunice Hanger’s Flood, which highlight developments relevant to the environmental disasters of today. In particular, the article focuses on the significance of key cultural assumptions embedded in the texts – and a revival of The Torrents in 2019 – including those to do with land use in a period of accelerating development. This approach offers new insights into the dominance of mining, irrigation, and dam-building activities within the Australian ethos, landscape, and economy. One of these insights is the framing of development as progressive. The article thus also examines how development projected as progressive takes place amid the continuing denial of prior occupation of the land by First Nations peoples and of knowledge systems developed over thousands of years. The intersectional settler-colonialist-ecocritical approach here seeks to capture the compounding ecosystem that is modern Australian theatre and its critique. The intention is not to apply revisionist critiques of 1950s plays but to explore the historical relationship between humans, colonialism, and the physical environment over time. Denise Varney is Professor of Theatre Studies in the School of Culture and Communication at the University of Melbourne. Her research is in modern and contemporary theatre and performance, with published work in the areas of ecocriticism, feminism, and Australian theatre. Her most recent book is Patrick White’s Theatre: Australian Modernism on Stage 1960–2018 (Sydney University Press, 2021).
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Jackson, Shannon. "Unmaking Mimesis: Essays on Feminism and Theater." Theatre Journal 51, no. 2 (1999): 223–24. http://dx.doi.org/10.1353/tj.1999.0026.

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Dissertations / Theses on the topic "Feminism and theater Australia"

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Rups-Eyland, Annette Maie. "Centre of the storm : in search of an Australian feminist spirituality through performance-ritual /." View thesis View thesis, 2002. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20031222.160235/index.html.

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Thesis (Ph.D.) -- University of Western Sydney, 2002.
A thesis submitted in full requirements for the degree of Doctor of Philosophy, School of Social Ecology and Lifelong Learning, University of Western Sydney, May 2002. Bibliography : p. [369]- 395.
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Bonshek, Corrina. "Australian deterritorialised music theatre a theoretical and creative exploration /." View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/19308.

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Thesis (Ph.D.) -- University of Western Sydney, 2007.
A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the University of Western Sydney, College of Arts, School of Communication Arts. Includes bibliography.
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Rups-Eyland, Annette Maie, University of Western Sydney, of Arts Education and Social Sciences College, and School of Social Ecology and Lifelong Learning. "Centre of the storm : in search of an Australian feminist spirituality through performance-ritual." THESIS_CAESS_SELL_Rups-Eyland_A.xml, 2002. http://handle.uws.edu.au:8081/1959.7/771.

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The outward form of the text in which the spiritual search is housed is 'performance-ritual', that is, performed 'ritual'. This genre has its 'performance' roots in the dance pioneers and its 'ritual' roots in the Christian church. The contents of this performed text is influenced by an emerging ecofeminist consciousness. In this way, the thesis has a grassroots inspiration as well as crossing academic areas of performance studies, ritual studies, and feminist spirituality. The project begins by an examination of 20th Century feminist and ecofeminist writing on spirituality, which evokes the subjective, embodied and historically contextualised, with particular focus on body and nature. Additional concepts of place, holding and letting go are introduced. Particular performance-rituals are introduced under the overall heading 'the spiralling journey of exorcism and ecstacy'. They include earlier work, as well as work performed specifically for this thesis, Centre of the Storm. The study re-situates 'ritual' as a subjective, embodied and contextualised performed event. It challenges ritual discourse to incorporate 'spirit', and feminist spirituality to incorporate the material world, through 'place', 'family', and the ritual actions of 'holding' and 'letting go'.
Doctor of Philosophy (PhD)
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Phatikomet, Panida. "Gaki : a Thai tale twice told in Thai and Australian versions." Thesis, Queensland University of Technology, 1996. https://eprints.qut.edu.au/35881/1/35881_Phatikomet_1996.pdf.

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Having looked back to my past experience in Thailand and having directed the production Gaki in Australia, I realise that Gaki is a big step in my life and it cannot be separated from my past experience. From a non-feminist person to one interested in feminism, I have seen the development of my thinking and looking at women in my own culture. My own background and my experience with women, Thailand, and Australia are significant sources that inspired me to present Gaki. Gaki is a long journey but it shows the development of how a non-feminist background person has been influenced to do a feminist play.
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De, Vos Ricardo George. "Imagination, realisation and the performing of Australia." Thesis, De Vos, Ricardo George (2003) Imagination, realisation and the performing of Australia. PhD thesis, Murdoch University, 2003. https://researchrepository.murdoch.edu.au/id/eprint/37/.

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This thesis argues that performance can be seen to constitute both a critical discipline and a set of activities entailing an engagement with spatial, temporal, physical and material relations, rather than as a product of linguistic, textual and discursive relations. As such, performance is able to critique the functioning of language, text and discourse in assuming space, time, bodies and matter. Performance also suggests ways of working on and informing writing practices. The social relations of performance pertain to times and spaces which are temporary and processual, to activities which imagine other times, spaces and people, and seek to realise them for a specific time in a specific space for a specific group of people. The social relations realised in this process of contingent realities are able to inform writing, that is, to produce writing which connects theatre with other discourses, and which connects words with bodies in time and space. It is argued that theatre and performance's process of imagination and realisation and its engagement with spatial, temporal, physical and material relations provides a valuable site for critically examining the ways in which Australia privileges and remembers specific configurations of space, time, bodies and matter, while marginalising others, in producing official representations of the Australian nation. Such representations, reflected ingovernmental programmes such as those concerning citizenship and national security, have a bearing on how Australians view their national past, present and future, and how they perceive their social connections with each other. Just as specific performances are made subject to the textual and discursive categories of literature and social theory, official enactments of the Australian nation are able to 'contain' Australians who spatially, temporally and physically transgress national boundaries. As a material practice, performance is able to engage with official enactments of the nation in order to 're-open' the spaces, times and encounters concealed within these sites.
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De, Vos Ricardo George. "Imagination, realisation and the performing of Australia." De Vos, Ricardo George (2003) Imagination, realisation and the performing of Australia. PhD thesis, Murdoch University, 2003. http://researchrepository.murdoch.edu.au/37/.

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This thesis argues that performance can be seen to constitute both a critical discipline and a set of activities entailing an engagement with spatial, temporal, physical and material relations, rather than as a product of linguistic, textual and discursive relations. As such, performance is able to critique the functioning of language, text and discourse in assuming space, time, bodies and matter. Performance also suggests ways of working on and informing writing practices. The social relations of performance pertain to times and spaces which are temporary and processual, to activities which imagine other times, spaces and people, and seek to realise them for a specific time in a specific space for a specific group of people. The social relations realised in this process of contingent realities are able to inform writing, that is, to produce writing which connects theatre with other discourses, and which connects words with bodies in time and space. It is argued that theatre and performance's process of imagination and realisation and its engagement with spatial, temporal, physical and material relations provides a valuable site for critically examining the ways in which Australia privileges and remembers specific configurations of space, time, bodies and matter, while marginalising others, in producing official representations of the Australian nation. Such representations, reflected ingovernmental programmes such as those concerning citizenship and national security, have a bearing on how Australians view their national past, present and future, and how they perceive their social connections with each other. Just as specific performances are made subject to the textual and discursive categories of literature and social theory, official enactments of the Australian nation are able to 'contain' Australians who spatially, temporally and physically transgress national boundaries. As a material practice, performance is able to engage with official enactments of the nation in order to 're-open' the spaces, times and encounters concealed within these sites.
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Leith, Hope Mary. "Moral and social constraints on femininity in the comedie larmoyante." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28102.

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This study has attempted to show that the plays of La Chaussée, which were popular in France in the middle to lat eighteenth century, were popular because they appealed to social values of the period, and particularly because they expressed a conservative view of society and of the role of women in that society. The introduction sets forth the historical and biographical background of La Chaussée, the extent of the success achieved by his "comédies larmoyantes" in performance and in publication during the eighteenth century, and the reasons for selecting the five plays on which this study concentrates. The focus on, female characters is explained by the number of plays "about" women: Mélanide, La Gouvernante, L'Ecole des méres and by the tendency in literary criticism to consider eighteenth-century French tastes in theatre dictated by women. Chapter I presents a content analysis of the five plays. This technique, taken from Goodlad, A Sociology of Popular Drama, provides plot summaries of these now unfamiliar plays which are used as a basis for chapter II. Furthermore it permits determination and comparison of these themes, settings, areas of conflict explored and types of resolution offered in the plays under examination. La Chaussée most frequently presents the problems of marital and familial love, and resolves conflicts with reconciliation, marriage, or another form of social integration. Goodlad brings out the relationship between popular success and a play's at least implicit didacticism and its conservatism in form and content. Chapter II uses narratological analysis techniques from Bremond, Logique du récit. The plays are considered as texts. The purpose here is to bring to light the structure of plot: how resolution in delayed or achieved, what roles -- victim, beneficiary, assistant, frustrator -- female character play in that structure. Heroines are found to be passive victims, beneficiaries, or even frustrators. Secondary female characters play minor assistant roles, or act as frustrators for the heroines. Resolution is achieved by male characters. Chapter III turns to discourse, how much and what is said about the female sex and/or by female characters. It examines the quantity, content and situation of female discourse in these plays, and particularly the social and situational restraints on discourse. A female character usually only has one scene with male characters in which she speaks half or more of the total lines, unless she is alone with someone over whom she has affective influence, and not her husband. Maids are used to express generalizations about the situation of women in society, and sympathy for the heroine. The discourse of heroines centres on the standards of virtue to which society holds them: patience, endurance, chastity, obedience. In the conclusion, critical judgments on La Chaussée from the eighteenth century to the present are reviewed and examined. Doubt is cast on the extent to which La Chaussée should be seen as promoting theatrical or social reform, and increased emphasis in placed on the nature of his didacticism, and the pervasiveness of his conservatism.
Arts, Faculty of
French, Hispanic, and Italian Studies, Department of
Graduate
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Whittington, Amanda. "Bad girls and blonde bombshells : lived feminism in popular theatre." Thesis, University of Huddersfield, 2016. http://eprints.hud.ac.uk/id/eprint/34413/.

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This project examines texts from a body of work which numbers fifteen performed across the country. The accompanying commentary identifies the ways in which 'Be My Baby' and 'The Thrill of Love' tell female-centred stories in a popular dramatic voice which explore aspects of women's lived experience. It engages with feminist theory and practice to identify the diffuse and sometimes contradictory feminisms within the plays. Dramatic structure is considered with close reference to realist and expressionist forms. The exegesis investigates their engagement with popular culture, the importance of music in the narratives and the methods by which they seek to reclaim women's history. The commentary brings together academic mainstream sources to contextualize the study. Playtexts are examined with reference to a broad range of theorists, practitioners and cultural commentators including Eileen Aston and Geraldine Harris, Erin Hurley, Angela McRobbie, Graham Saunders, Lucy O'Brien, Carol Ann Lee and Lyn Gardner. The distinctive aspects of affective solidarity and feeling are identified as unifying elements of the play's personal and political concerns.
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King, Portia Jane. "Shake it hard feminist identity and the burly-Q /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2008. http://hdl.handle.net/10355/5798.

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Thesis (M.A.)--University of Missouri-Columbia, 2008.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on August 12, 2009) Includes bibliographical references.
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Huntley, Rebecca. ""Sex on the Hustings" : labor and the construction of 'the woman voter' in two federal elections (1983, 1993)." Connect to full text, 2003. http://setis.library.usyd.edu.au/adt/public_html/adt-NU/public/adt-NU20040209.113517/index.html.

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Books on the topic "Feminism and theater Australia"

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Converging realities: Feminism in Australian theatre. Sydney: Currency Press, 1994.

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Theatre and feminism. London: Palgrave Macmillan, 2015.

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Feminism and theatre. New York: Methuen, 1988.

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Case, Sue-Ellen. Feminism and theatre. New York: Routledge, 1988.

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Feminism and theatre. Basingstoke: Macmillan, 1988.

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Case, Sue-Ellen. Feminism and theatre. New York: Routledge, 1988.

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Trioli, Virginia. Generation f: Sex, power, and the young feminist. Melbourne, Vic: Minerva, 1996.

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Philip, Parsons, and Chance Victoria, eds. Companion to theatre in Australia. Sydney: Currency Press in association with Cambridge University Press, 1995.

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Robert, Jordan. The convict theatres of early Australia, 1788-1840. Strawberry Hills, NSW: Currency House, 2002.

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Unmaking mimesis: Essays on feminism and theater. London: Routledge, 1997.

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Book chapters on the topic "Feminism and theater Australia"

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Tompkins, Joanne. "Gendering Space: The Desert and the Psyche in Contemporary Australian Theatre." In Feminist Futures?, 190–208. London: Palgrave Macmillan UK, 2006. http://dx.doi.org/10.1057/9780230554948_12.

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Sawer, Marian. "Australia: the Fall of the Femocrat." In Changing State Feminism, 20–40. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230591424_2.

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Jamarani, Maryam. "Encountering Differences: Iranian Immigrant Women in Australia." In Feminism and Migration, 149–64. Dordrecht: Springer Netherlands, 2012. http://dx.doi.org/10.1007/978-94-007-2831-8_8.

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Nagatomo, Jun. "Japanese Single Mothers in Australia: Negotiation with Patriarchal Ideology and Stigma in the Homeland." In Feminism and Migration, 81–99. Dordrecht: Springer Netherlands, 2012. http://dx.doi.org/10.1007/978-94-007-2831-8_5.

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Featherstone, Lisa. "Rape, Feminism and Culture in the 1970s." In Sexual Violence in Australia, 1970s–1980s, 63–81. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-73310-0_3.

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Coady, Margaret M. "Feminism and the Development of Early Childhood Education in Australia." In Feminism(s) in Early Childhood, 11–24. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-3057-4_2.

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Millar, Erica. "Feminism, Foetocentrism, and the Politics of Abortion Choice in 1970s Australia." In Transcending Borders, 121–36. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-48399-3_8.

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Christou, Anastasia, and Eleonore Kofman. "Conclusion." In IMISCOE Research Series, 117–23. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-91971-9_7.

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AbstractAt the end of a short journey, we can attest to the flourishing production of knowledge on gender and migration that has built up over the past 30 years in particular. Though we have on the whole referred to works in English, there is an extensive literature in other major languages, such as French, German, Italian and Spanish which have emerged from different social science traditions, in recognition of the significance of gendered migrations and feminist movements. English has come to dominate writing in this field (Kofman, 2020), ironically in large part through the European funding of comparative research as well as transatlantic exchanges (Levy et al., 2020). The past 20 years have been a rapid period of intellectual exchange in this field through networks and disciplinary associations, such as the International and European Sociological Associations or IMISCOE which supported a cluster on Gender, Generation and Age (2004–2009). The IMISCOE Migration Research Hub (https://www.migrationresearch.com/) demonstrates the extensive production on gender issues and their connections with other theories and fields of migration. The economic and social transformations brought about by globalisation and transnationalism, and how its unequal outcomes and identities need to be understood through an intersectional lens (Amelina & Lutz, 2019), have heavily shaped studies of gender and migration (see Chap. 10.1007/978-3-030-91971-9_2). Indeed intersectionality has been suggested by some as the major contribution of contemporary feminism to the social sciences, and, has certainly been a theoretical insight that has travelled widely and rapidly from the Anglo world to Europe (Davis, 2020; Lutz, 2014) since it was defined by Kimberlé Crenshaw (1989). We should, however, also remember that it had antecedents in the writing of anti-racist feminists on racist ideology and sex by the French sociologist Claude Guillaumin (1995), on the trinity of gender, race and class in the UK (Anthias & Yuval-Davis, 1992; Parmar, 1982) and by scholars in Australia (Bottomley et al., 1991) and Canada (Stasiulis & Yuval-Davis, 1995).
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"Peta Tait: Feminism in Australian Theatre." In The Routledge Reader in Gender and Performance, 249–54. Routledge, 2002. http://dx.doi.org/10.4324/9780203143926-50.

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"Women vote in South Australia." In Feminism, 133. Routledge, 2014. http://dx.doi.org/10.4324/9781315833170-25.

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Reports on the topic "Feminism and theater Australia"

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Prysyazhnyi, Mykhaylo. UNIQUE, BUT UNCOMPLETED PROJECTS (FROM HISTORY OF THE UKRAINIAN EMIGRANT PRESS). Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11093.

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In the article investigational three magazines which went out after Second World war in Germany and Austria in the environment of the Ukrainian emigrants, is «Theater» (edition of association of artists of the Ukrainian stage), «Student flag» (a magazine of the Ukrainian academic young people is in Austria), «Young friends» (a plastoviy magazine is for senior children and youth). The thematic structure of magazines, which is inferior the association of different on age, is considered, by vital experience and professional orientation of people in the conditions of the forced emigration, paid regard to graphic registration of magazines, which, without regard to absence of the proper publisher-polydiene bases, marked structuralness and expressiveness. A repertoire of periodicals of Ukrainian migration is in the American, English and French areas of occupation of Germany and Austria after Second world war, which consists of 200 names, strikes the tipologichnoy vseokhopnistyu and testifies to the high intellectual level of the moved persons, desire of yaknaynovishe, to realize the considerable potential in new terms with hope on transference of the purchased experience to Ukraine. On ruins of Europe for two-three years the network of the press, which could be proud of the European state is separately taken, is created. Different was a period of their appearance: from odnogo-dvokh there are to a few hundred numbers, that it is related to intensive migration of Ukrainians to the USA, Canada, countries of South America, Australia. But indisputable is a fact of forming of conceptions of newspapers and magazines, which it follows to study, doslidzhuvati and adjust them to present Ukrainian realities. Here not superfluous will be an example of a few editions on the thematic range of which the names – «Plastun» specify, «Skob», «Mali druzi», «Sonechko», «Yunackiy shliah», «Iyzhak», «Lys Mykyta» (satire, humour), «Literaturna gazeta», «Ukraina і svit», «Ridne slovo», «Hrystyianskyi shliah», «Golos derzhavnyka», «Ukrainskyi samostiynyk», «Gart», «Zmag» (sport), «Litopys politviaznia», «Ukrains’ka shkola», «Torgivlia i promysel», «Gospodars’ko-kooperatyvne zhyttia», «Ukrainskyi gospodar», «Ukrainskyi esperantist», «Radiotehnik», «Politviazen’», «Ukrainskyi selianyn» Considering three riznovektorni magazines «Teatr» (edition of Association Mistciv the Ukrainian Stage), «Studentskyi prapor» (a magazine of the Ukrainian academic young people is in Austria), «Yuni druzi» (a plastoviy magazine is for senior children and youth) assert that maintenance all three magazines directed on creation of different on age and by the professional orientation of national associations for achievement of the unique purpose – cherishing and maintainance of environments of ukrainstva, identity, in the conditions of strange land. Without regard to unfavorable publisher-polydiene possibilities, absence of financial support and proper encouragement, release, followed the intensive necessity of concentration of efforts for achievement of primary purpose – receipt and re-erecting of the Ukrainian State.
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