Gender and the Italian Stage
From the Renaissance to the Present Day
By (author) Maggie Gunsberg
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Gender and the Italian Stage by Maggie Gunsberg
Book DescriptionMaggie Gunsberg explores the intersection between gender portrayal and other social categories of class, age and the family in the Italian theatre from the Renaissance to the present day. She examines the developing relationship between patriarchal strategies and the formal properties of the dramatic genre such as plot, comedy and realism. She also considers conventions specific to drama in performance, including images of both femininity and masculinity. An interdisciplinary approach, drawing on semiotics, psychoanalysis, philosophy, theories of spectatorship and dramatic theory from a feminist perspective, informs Gunsberg's critique of landmarks in Italian theatrical history, including work by Machiavelli, Ariosto, Goldoni, D'Annunzio and Pirandello. The book concludes with a chapter on the plays of Franca Rame, assessing the impact of this important figure on contemporary Italian theatre.
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Book DetailsISBN: 9780521041294
(229mm x 152mm x 16mm)
Imprint: Cambridge University Press
Publisher: Cambridge University Press
Publish Date: 18-Oct-2007
Country of Publication: United Kingdom
Books By Author Maggie Gunsberg
Italian Cinema: Gender and Genre, Hardback (November 2004)
Maggie Gunsberg examines popular genre cinema in Italy during the 1950s and 1960s, focusing on melodrama, peplum, horror and the spaghetti western. These genres are explored from a gender standpoint which takes into account the historical and socio-economic context of cinematic production and consumption.
Gender and the Italian Stage, Hardback (December 1997)
An exploration of the portrayal of gender on the Italian stage from the Renaissance to the present, in a social and theoretical context.
Patriarchal Representations, Hardback (January 1994)» View all books by Maggie Gunsberg
Examines the representation of gender relations in Pirandello's writing, and assesses his status as an avant garde author. This book argues that while he can certainly be described as avant garde on the level of dramatic form, he cannot be said to innovate at the more covert level of gender relations.
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