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340 pages

English

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Classic Plays by Women: an anthology of the best plays by female dramatists from 1600-2000Staged in theatres by successive generations and proving relevant to contemporary audiences, the plays demonstrate the wit, theatrical skill and innovation of their creators in exploring timeless topics from marriage, morality and money to class conflict, rage and sexual desire. An essential resource for students, playwrights, colleges, universities and libraries, this collection also provides theatres with the opportunity to programme a range of theatrical classics by women.Plays from: Hroswitha's Paphnutius (extract); Elizabeth Cary's The Tragedy of Mariam(extract); Aphra Behn's The Rover; Susanna Centlivre's A Bold Stroke For A Wife; Joanna Baillie's De Montfort; Githa Sowerby's Rutherford and Son; Enid Bagnold's The Chalk Garden; Caryl Churchill's Top Girls (extract); Marie Jones' Stones in his Pockets.

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Publié par	Distributed By PublishDrive
Date de parution	02 avril 2019
Nombre de lectures	0
EAN13	9781910798782
Langue	English
Poids de l'ouvrage	1 Mo

Informations légales : prix de location à la page 0,0166€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

Susan Croft
Susan is a writer, historian, curator and researcher. She worked in the USA with the Omaha Magic Theatre in the early 1980s, returning to Britain to work as a dramaturg with small-scale theatre companies and founding New Playwrights Trust, of which she was Director from 1986–89.
She taught Creative Arts (Performance) at Nottingham Trent University and then was Senior Research Fellow in Performance Arts at Manchester Metropolitan University to 1996. From 1997–2005, she was Curator of Contemporary Performance at the Theatre Museum where she worked on the National Video Archive of Performance. She also curated four major exhibitions including Let Paul Robeson Sing! and Architects of Fantasy and pioneered a range of initiatives to record the history of black and Asian theatre in Britain.
She has written extensively on women playwrights, including: … She Also Wrote Plays: an International Guide to Women Playwrights from the 10th to the 21st Century (Faber, 2001) and edited Votes for Women and other plays (Aurora Metro, 2009). She is working on A Critical Bibliography of Plays Published by Women Playwrights in English to 1914 (working title) for Manchester University Press and a major anthology Staging the New Woman, with Sherry Engle.
She also runs the project Unfinished Histories: Recording the History of Alternative Theatre, with Jessica Higgs, a major initiative to record oral histories and preserve archives of the alternative theatre movement from the 1960s to the 1980s. See www.susan.croft.btinternet.co.uk for further details.
She lives in London with her husband and two children.
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Collections
Plays for Today by Women eds. Cheryl Robson and Rebecca Gillieron
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Votes for Women and other plays ed. Susan Croft
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Six Plays by Black and Asian Women Writers ed. Kadija George
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Seven Plays by Women ed. Cheryl Robson
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Plays by Mediterranean Women ed. Marion Baraitser
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A Touch of the Dutch , plays by women ed. Cheryl Robson
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Eastern Promise; plays from Central and Eastern Europe eds. Sian Evans and Cheryl Robson ISBN 978-0-9515877-9-9 £11.99
Available from www.aurorametro.com and all good bookstores
Classic Plays by Women
from 1600 to 2000
edited and introduced by
Susan Croft
Paphnutius (extract)
Hrotswitha
The Tragedy of Mariam (extract)
Elizabeth Cary
The Rover
Aphra Behn
A Bold Stroke for a Wife
Susanna Centlivre
De Monfort
Joanna Baillie
Rutherford and Son
Githa Sowerby
The Chalk Garden
Enid Bagnold
Top Girls (extract)
Caryl Churchill
Stones in his Pockets
Marie Jones
This volume first published in UK in 2010 by Aurora Metro Publications Ltd, 67 Grove Avenue, Twickenham, TW1 4HX www.aurorametro.com © 2010 Aurora Metro Publications: info@aurorametro.com
Facebook @AuroraMetroBooks Twitter @AuroraMetro

Cover photo: © 2010 annedehaas c/o istockphoto.com
Production editors: Gillian Wakeling, Carmel Walsh, Rebecca Gillieron & Peter Fullagar
With thanks to: Neil Gregory, Lucy Ashley, Lesley Mackay, Sumedha Mane, Simon Bennett, Caroline Hennig, Stacey Crawshaw, Simon Smith, Reena Makwana.

Introduction and Bibliography © 2010 Susan Croft
Compilation and selection © 2010 Susan Croft and Cheryl Robson
Rutherford and Son by Githa Sowerby © 1912 Githa Sowerby. Reproduced by permission of Samuel French Ltd.
The Chalk Garden by Enid Bagnold © 1955 Enid Bagnold c/o Dominick Jones. First published in 1956 by Samuel French Ltd.
Top Girls by Caryl Churchill © 1982 Caryl Churchill. First published by Methuen Drama, London now an imprint of A & C Black Publishers.
Stones in his Pockets copyright © 2000 by Marie Jones is reprinted by arrangement with the publishers, Nick Hern Books: www.nickhernbooks.co.uk
All rights are strictly reserved. No part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted in any form, or by any means (electronic, mechanical, photocopying, recording or otherwise) without the prior permission of the publisher. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages.
Applications for performance, including professional, amateur, recitation, lecturing, public reading, broadcasting, television, and rights of translation into foreign languages should be addressed to:
Rutherford and Son by Githa Sowerby c/o theatre@samuelfrench-london.co.uk
The Chalk Garden by Enid Bagnold c/o dj@dominick-jones.com .
Top Girls by Caryl Churchill c/o Casarotto Ramsay Agency info@casarotto.co.uk
Stones In His Pockets by Marie Jones c/o info@nickhernbooks.demon.co.uk
In accordance with Section 78 of the Copyright, Designs and Patents Act 1988, the authors assert their moral rights to be identified as the authors of the above Works.
This paperback is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out, or otherwise circulated without the publisher's prior consent in any form of binding or cover other than that in which it is published and without a similar condition being imposed on the subsequent purchaser.

ISBNs
978-1-906582-00-5 (paperback)
978-1-910798-78-2 (ebook)
Contents
Introduction
Susan Croft
Paphnutius (circa 960) extract
Hrotswitha
The Tragedy of Mariam (1613) extract
Elizabeth Cary
The Rover (1677)
Aphra Behn
A Bold Stroke for a Wife (1718)
Susanna Centlivre
De Monfort (1800)
Joanna Baillie
Rutherford and Son (1912)
Githa Sowerby
The Chalk Garden (1955)
Enid Bagnold
Top Girls (1982) extract
Caryl Churchill
Stones in his Pockets (1996)
Marie Jones
Bibliography

More from Aurora Metro
Introduction
This is the first anthology of British and Irish women playwrights to survey plays across four hundred years and to offer key dramatic texts in one volume. Since the first anthologies of plays by women appeared in North America in the 1970s, i when feminist scholars were inspired to investigate women’s neglected history as playwrights, it is perhaps surprising that it has taken so long for an anthology of this kind to be produced. i In Britain, the first anthology of women’s plays appeared in 1981, The Female Wits: Women Playwrights of the Restoration, edited by Fidelis Morgan (Virago). Numerous others have followed, some focused on new writing, like the Methuen Plays by Women volumes pioneered by Michelene Wandor in the 1980s, while others have collected plays from particular historical periods or constituencies of writers. ii
To examine women’s playwriting within a particular cultural tradition, or to look at a particular period such as 1880-1930, which centred in many countries on the struggle for the vote and other women’s rights, as Katherine Kelly does in Modern Drama by Women, is a relatively manageable task. In my earlier collection Votes For Women and other plays (2009), a new collection of suffrage drama, the material had an obvious internal coherence, creating a space to examine likeness and difference.
Perhaps the absence until now of volumes of ‘women’s classics’ is understandable – the attempt to edit one is not an easy task – and the choice of plays is hugely difficult. One of the key projects of feminist literary criticism since its beginnings in the 1970s has been the critique of canon formation and the systematic exclusion of women’s writing from the accepted list of classics. To appear to re-inscribe a new female canon with its invidious choices of what to include and what to exclude and to then call it an anthology of ‘classics’ is to invite criticism. In particular, the representation of recent plays, the long-term endurance of which has yet to be tested, is problematic. The choice of what to include is also constrained by ownership issues, where publishers retain exclusive publication rights.
In a context too, where some contemporary women playwrights argue that they are playwrights first and foremost and do not want to be placed within a ghetto of femaleness, resisting the very label ‘woman playwright’, we need to consider how useful it is to put playwrights as diverse in language, form and concerns as Elizabeth Cary and Marie Jones together in one volume, merely on the basis of their gender.
The work of the past 30 years in the English-speaking world to retrieve lost plays by women has in some ways been hugely effective. Large bodies of work have been rediscovered, republished and restaged by enterprising theatres and small-scale companies. Simultaneously, there has been an upsurge in new playwriting by women. Bodies of theatre work by women, past and present, from almost every country from Finland to South Korea, have been translated, circulated and produced. The range and diversity of work by women available in the English language to stage in theatre repertoires has never been greater. Yet the percentage of work by women actually produced at funded theatres remains stubbornly constant. iii
It is rare to find theatres like the Orange Tree Theatre in Richmond, England, which from 2007-08 staged 15