Titlebook: Staging Politics and Gender; French Women’s Drama Cecilia Beach Book 2005 Cecilia Beach 2005 drama.feminism.gender.theatre.women

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Conclusion and Epilogue,ence, to a forum with educational, philosophical, social, and political objectives. All factions of socialists and feminists believed in the power of the theater to influence the audience. As feminist Harlor wrote in 1901,“[Le théatre] est, en quelque sorte, la suprême tribune de propagande, celle d

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Introduction: Theater, Politics, and Gender,rmlessly to depict the status quo in one time and place may be con-sidered subversive in another. A work forbidden by the censors of one government may enjoy the moral and financial support of another.A per-formance that speaks to the social reforms at the turn of the century will most likely seem irrelevant 50 years later.

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Staging the Revolution: Louise Michel, and women with whom she had fought during the Commune, are willing to die for the cause. Louise Michel’s plays function as a form of political proselytism combining the anarchist methods of propaganda by the word and propaganda by the deed.

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Braving the Law: Madeleine Pelletier,ily, Pelletier’s mother symbolized the working-class woman’s plight. This may explain why Pelletier would never romanticize the working-class lifestyle like Starkoff and other leftist militants. On the contrary, she fought to raise the proletariat out of the degradation in which they lived.

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ked until now. Beach highlights the importance of theatrical endeavors which women perceived as a powerful way to promote political opinions. The author analyzes the work of Louise Michel, Nelly Roussel, Marie Leneru, Vera Starkoff, and Madeline Pelletier and discusses anarchist theatre and forms of

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