Titlebook: Rape on the Contemporary Stage; Lisa Fitzpatrick Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 Representing rape in theat

執(zhí)

Rape on the Naturalistic Stage: The Example of ,,daptions. The play centres around the seduction of a young noble woman by her family’s valet (or possibly her seduction of him). The text never clarifies whether the off-stage sex is consensual, but most interpretations—including contemporary ones—never consider the possibility that the play is abou

Tartar

Women Playwrights: Subverting Representational Strategies,The authors’ and theatre-makers’ strategies for representing violence tends to reflect specific cultural circumstances, both in the nature of the violence and in the techniques used to write and stage it. In general these place the female character’s experience at the centre of the dramatic conflict

Nonporous

Latency

煩人

In Extremis: Staging Rape in the 2010s,l violence. These challenging and troubling works dramatize the objectification of women, the lure of self-destructive violence, sex trafficking in Europe, and the murder of Jyoti Singh in 2012 in India. The chapter considers the affective power of the work, and the balance between representing wome

Cirrhosis

Conclusion,and desire, and that mistrust women’s speech. This final chapter considers possible future anti-rape activism and new ways of understanding rape, including Carine Mardorossian’s proposal that rape be detached from gender to recognize that all violence is sexual violence (2014). Finally, the chapter

nascent

Introduction,n’s experiences of rape, and the relationship between rape and pornography. She surveys the representation of rape on stage from the early modern period, choosing examples for more detailed analysis, before outlining the methodology and focus of this study of rape on the contemporary stage.

LUMEN

In Extremis: Staging Rape in the 2010s,rope, and the murder of Jyoti Singh in 2012 in India. The chapter considers the affective power of the work, and the balance between representing women as victims and exploring women’s lived experience ethically and with efficacy.

辯論的終結(jié)

粗糙

Rape on the Naturalistic Stage: The Example of ,,t a rape. Yet it can be interpreted in that way, as Ingmar Bergman’s 1981 production makes clear. Fitzpatrick explores the play’s engagement with enduring social and cultural attitudes to women’s sexuality, and the relationship between violence and desire.