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Autor: Grafiati

Data publikacji: 25 lipca 2024

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1

Thayer, Ella Cheever. Lords of creation. Alexandria, VA: Alexander Street Press, 2007.

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2

1952-, Beaulieu Jocelyne, red. L' Incroyable histoire de la lutte que quelques-unes ont menée pour obtenir le droit de vote pour toutes: Théâtre. Outremont, Québec: VLB, 1990.

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3

The fighting days: A play. Vancouver: Talonbooks, 1985.

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4

The fighting days. Alexandria, VA: Alexander Street Press, 2007.

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5

Bettina, Friedl, red. On to victory: Propaganda plays of the woman suffrage movement. Boston: Northeastern University Press, 1987.

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6

Stowell, Sheila. A stage of their own: Feminist playwrights of the suffrage era. Manchester: Manchester University Press, 1992.

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Stowell, Sheila. A stage of their own: Feminist playwrights of the suffrage era. Ann Arbor: University of Michigan Press, 1992.

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8

Candida, Lacey, i Hayman Carole, red. How the vote was won, and other suffragette plays. London: Methuen, 1985.

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9

Griffiths, Linda. Age of arousal. Toronto: Coach House Books, 2007.

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10

Griffiths, Linda. Age of arousal. Toronto: Coach House Books, 2007.

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11

Argetsinger, Gerald S. Equality of rights: The first Woman's Rights Convention. [Rochester, NY]: G.S. Argetsinger, 1998.

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12

Reynolds, Paige. Modernism, drama, and the audience for Irish spectacle. Cambridge: Cambridge University Press, 2007.

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13

Reynolds, Paige. Modernism, drama, and the audience for Irish spectacle. Cambridge: Cambridge University Press, 2007.

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14

Tripp, Valerie. Samantha's theater kit: A play about Samantha for you and your friends to perform. Middleton, WI: Pleasant Co., 1994.

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15

Tripp, Valerie. Actions speak louder than words: A play about Samantha. Middleton, WI: Pleasant Co. Publications, 1994.

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16

Thayer, Ella Cheever. Lords of Creation: Woman Suffrage Drama. Independently Published, 2020.

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17

Thayer, Ella Cheever. Lords of Creation: Woman Suffrage Drama. Independently Published, 2020.

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18

Thayer, Ella Cheever. Lords of Creation: Woman Suffrage Drama. Independently Published, 2020.

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19

Thayer, Ella Cheever. Lords of Creation: Woman Suffrage Drama. Independently Published, 2020.

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20

Hamilton, Cicely, Beatrice Harraden, Christopher St John i Naomi Paxton. Methuen Drama Book of Suffrage Plays. Bloomsbury Publishing Plc, 2013.

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21

Thayer, Ella Cheever. Lords of Creation: Woman Suffrage Drama- Large Print. Independently Published, 2021.

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22

Wiley, Christopher, i Lucy Ella Rose. Women�s Suffrage in Word Image Music and Drama. Taylor & Francis Group, 2021.

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23

Thayer, Ella Cheever. Lords of Creation: Woman Suffrage Drama in Three Acts- Large Print. Independently Published, 2020.

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24

Thayer, Ella Cheever. Lords of Creation: Woman Suffrage Drama in Three Acts- Large Print. Independently Published, 2020.

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25

Thayer, Ella Cheever. Lords of Creation: Woman Suffrage Drama in Three Acts - Publishing People Series. Independently Published, 2020.

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26

illustrator, Feeney Siri Weber, red. Suffrage Sisters: The Fight for Liberty. Red Chair Press, 2015.

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27

Mead, Maggie, i Siri Weber Feeney. Suffrage Sisters: The Fight for Liberty. Red Chair Press, 2015.

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28

Friedl, Bettina. On To Victory: Propaganda Plays of the Woman Suffrage Movement. Northeastern University Press, 1987.

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29

Santangelo, Lauren C. Suffrage and the City. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190850364.001.0001.

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Suffrage and the City: New York Women Battle for the Ballot uncovers the ways in which the demand for women’s rights intersected with the history, politics, and culture of New York City in the Gilded Age and Progressive Era. The city—its mores, rhythms, and physical layout—helped to shape what was possible for suffragists campaigning within it. At the same time, these activists helped to redefine the urban experience, especially for white, middle-class women. The fight for the vote in the nation’s largest metropolis demanded that suffragists both mobilize and contest urban etiquette, as they worked to gain visibility and underscore their cause’s respectability. Suffrage and the City demonstrates that the Big Apple was more than just a stage for suffrage action; it was part of the drama.

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30

Volpe, Petra. Göttliche Ordnung: The divine order. 2018.

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31

Hill, Leslie. Sex, Suffrage and the Stage: First Wave Feminism in British Theatre. Red Globe Press, 2018.

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32

Sex, Suffrage and the Stage: First Wave Feminism in British Theatre. Red Globe Press, 2018.

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33

A Stage of Their Own: Feminist Playwrights of the Suffrage Era. University of Michigan Press, 1994.

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34

The new woman and other emancipated woman plays. Oxford: Oxford University Press, 1998.

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35

John, Christopher St, Evelyn Glover, Cicely Hamilton, Beatrice Harraden i H. V. Esmond. Methuen Drama Book of Suffrage Plays: How the Vote Was Won, Lady Geraldine's Speech, Pot and Kettle, Miss Appleyard's Awakening, Her Vote, the Mother's Meeting, the Anti-Suffragist or the Other Side, Tradition. Bloomsbury Publishing Plc, 2013.

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36

John, Christopher St, Evelyn Glover, Cicely Hamilton, Beatrice Harraden i H. V. Esmond. Methuen Drama Book of Suffrage Plays: How the Vote Was Won, Lady Geraldine's Speech, Pot and Kettle, Miss Appleyard's Awakening, Her Vote, the Mother's Meeting, the Anti-Suffragist or the Other Side, Tradition. Bloomsbury Publishing Plc, 2013.

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37

Paxton, Naomi. Methuen Drama Book of Suffrage Plays : Taking the Stage: Might Is Right; Free Woman to Free Man; a Woman's Influence; Press Cuttings; Woman This and Women That; the Twelve Pound Look; for One Night Only; Her Will; Su l'Pave; Which; 10 Clowning Street; Anti Suffrage Waxworks. Bloomsbury Publishing Plc, 2018.

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38

How The Vote Was Won: And Other Suffragette Plays. Methuen, 1985.

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39

Griffiths, Linda. Age of Arousal. Coach House Press, 2007.

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40

Modernism, Drama, and the Audience for Irish Spectacle. Cambridge University Press, 2008.

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41

Reynolds, Paige. Modernism, Drama, and the Audience for Irish Spectacle. Cambridge University Press, 2011.

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42

Shepherd-Barr, Kirsten E. Against Interpretation? Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190467876.003.0009.

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This chapter reads Hedda Gabler as self-conscious actor and director of her own drama. It builds on the groundbreaking work of Gay Gibson Cima on Elizabeth Robins’s depiction of Hedda in 1891. Cima traced Robins’s development of an “autistic gesture” in acting the role of Hedda, whereby she would pause and gaze directly out at the audience. This created a tension between private mental state and public action, which in turn was part of a wider movement by actresses like Eleonora Duse and Janet Achurch to carve out a specific interior female space on stage through their gestures, expressions, and readings of roles. At the same time as Ibsen’s plays were premiering, suffrage theatre was beginning to highlight the related theme of how women were always performing a role and following a script someone else had written. Hedda is perhaps Ibsen’s strongest representation of women’s self-suppression and adoption of another’s identity.

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