Women in Asian performance: aesthetics and politics
- Submitting institution
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University of Lincoln
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- 18686
- Type
- B - Edited book
- DOI
-
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- Publisher
- Routledge
- ISBN
- 9781138917828
- Open access status
- Out of scope for open access requirements
- Month of publication
- February
- Year of publication
- 2017
- URL
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- Supplementary information
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- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- The significance of Women in Asian Performance: Aesthetics and Politics lies in its Asian-specific take on feminist theory. This is an approach which interrogates the complexities of female presence/absence/erasure in Asian performance. The enquiry emerges from Madhavan’s concerns about the limited capacity of Euro-American gender studies to undertake a gender-specific critique of Asian performance because of differing cultural and historical contexts.
The research arose from the following questions:
1. What are the female contributions to Asian performance traditions? What has been done so far to address, interrogate and document them?
2. Why is it relevant to establish a culturally specific conceptual ground to discuss the place and contributions of women in Asian performance?
3. Would such concepts depart from the current theoretical framework of gender studies or add significantly to its already rich and expansive discursive terrain?
In exploring these questions, the anthology critiques and problematises the universalizing tendencies of Western gender theory and its relation to theatre. It raises concerns about the hegemonic position asserted by contemporary Euro-American gender theorists by investigating presence, absence and erasure as an alternative theoretical framework to explain the historical role of women in Asian performance. The organisation of chapters under the headings ‘Erasure’, ‘Intervention’, and ‘Reconstruction’, reflects Madhavan’s introduction and curation of contributors’ responses to the theme.
- Author contribution statement
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- Non-English
- No
- English abstract
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