Female playwrights and applied intersectionality in Romanian theater / Catalina Florina Florescu.
Språk: Engelska Serie: Routledge advances in theatre & performance studiesUtgivning: Abingdon, Oxford : Routledge, [2024]Utgivningstid: ©2024Beskrivning: xviii, 129 sidor illustrationerInnehållstyp:- text
- unmediated
- volume
- 9780367474140
- 809.89287 23/swe
- G.02
- Nna
| Cover image | Item type | Current library | Home library | Collection | Shelving location | Call number | Materials specified | Vol info | URL | Copy number | Status | Notes | Date due | Barcode | Item holds | Item hold queue priority | Course reserves | |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Book | Musik- och teaterbiblioteket Öppen samling, seminarieytan | C18.940 | Available | 26201862760 |
Innehåller bibliografiska referenser oh index
Feminine -- Schrödinger's cat -- A land full of heroes -- Romacene: the age of the witch -- The pulverised -- Verde crud -- Let's talk about life -- Offline family -- Exilul este casa mea
In this collection, the author focuses on several contemporary Romanian female playwrights with residencies in Europe and the U.S.: Alexandra Badea, Carmen-Francesca Banciu, Alexa Băcanu, Ana Sorina Corneanu, Mihaela Drăgan, Dr. Cătălina Florina Florescu, Dr. Mihaela Michailov, Dr. Domnica Rădulescu, Saviana Stănescu, and Dr. Elise Wilk. In their bold works, written by female playwrights who are academics, activists, and performers, we are invited to discover variations in the modus operandi of the dramatic language itself from metaphorical to matter-of-fact approaches. Furthermore, while all these playwrights speak Romanian, they also think and operate in various other languages, such as Romani, German, French, Italian, and American English. This book facilitates scholars and students to discover contemporary issues related to Romanian society as presented heavily from a feminine angle and to reveal intersectional issues as seen and applied to dramatic characters in a post-communist country from some authors who experienced communism firsthand. The book is also an invitation to reinvent how we teach dramatic literature by offering 20 interactive, exploratory activities