Suchergebnisse

After the emergence and development of Performance and Theatre Studies in literary theory, the invisibility of gendered vulnerability denounced through fictional characters has recently raised an interesting debate turning spectators into active participants in the process of negotiating ethical agency. The intersection of vulnerability and precarity in contemporary theatre might offer a challenging approach to be explored due to the ontological connections between the two concepts. Under the light of Alyson Cole's (2016) "All of Us Are Vulnerable, But Some Are More Vulnerable than Others: The Political Ambiguity of Vulnerability Studies, an Ambivalent Critique", Isabell Lorey's (2015) State of Insecurity: Government of the Precarious, and Judith Butler's (2012) "Precarious Life, Vulnerability, and the Ethics of Cohabitation," among other sources, the objective of this chapter is to explore the nexus between gendered forms of vulnerability and other factors inherent to social and economic precarity present in the plays of the Welsh playwright Gary Owen Iphigenia in Splott (2015) and In the Pipeline (2010). The analysis will demonstrate the necessity to (re)structure social bonds according to the condition of mutual cohabitation and shared responsibility by illuminating the complexity of the precarity/vulnerability ambivalence exposed in the plays.

En The Woman, Edward Bond nos proporciona la posibilidad de analizar el desarrollo de una figura femenina revolucionaria única en la escena inglesa de los años setenta. Desafiando la voz sumisa de las mujeres en la antigua Grecia, Ismene supone un claro ejemplo de conciencia política y social demostrando su capacidad de ejercer un liderazgo racional y responsable. No obstante, tras el fracaso de sus objetivos, la locura se convertirá en su válvula de escape ante la destrucción de Troya. Símbolo claro del pacifismo frente a la demencia imperialista, la heroína de The Woman trasciende cuestiones de género para convertirse en portavoz de problemas políticos. ; In The Woman, Edward Bond proposes the possibility to analyze the development of a revolutionary female figure, unique in the English stage of the seventies. Subverting the submissive voice of women in the ancient Greece, Ismene stands as a clear example of political and social conscience showing her capacity of rational and responsible leadership. Yet, after the failure of her objectives, madness will be her solution to escape from the destruction of Troy. The Woman's heroine, a clear symbol of pacifism against imperialist fever, will transcend gender questions to become the speaker of political issues.