Strengths and limits of feminist practice of the acting theories of Suzuki Tadashi


Make an argument about the strengths and limitations for feminist practice of the acting theories/pedagogy of either Joseph Chaikin, Augusto Boal, or Suzuki Tadashi (Grotowski seems to me a lost case, but if you have something other than an obvious critique up your sleeve, go for it). Ground your argument in the assigned texts by those artists as well as the following essays: J. Ellen Gainor, “Rethinking Feminism, Stanislavsky, and Performance” (which surveys the field, so you can pursue its citations as you like) and Elin Diamond, “Brechtian Theory/Feminist Theory: Toward a Gestic Feminist Criticism.” 

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