Sex and War on the American Stage: Lysistrata in performance 1930-2012

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9780415812153: Sex and War on the American Stage: Lysistrata in performance 1930-2012
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American adaptations of Aristophanes' enduring comedy Lysistrata have used laughter to critique sex, war, and feminism for nearly a century. The play's "make love not war" message and bawdy humor render it endlessly appealing to college campuses, activist groups, and community theatres - so much so that none of Aristophanes' plays are performed in the West as frequently as Lysistrata.
Starting with the play's first mainstream production in the U.S. in 1930, Emily B. Klein explores the varied iterations of Lysistrata that have graced the American stage, page, and screen since the Great Depression. These include the Federal Theatre's 1936 Negro Repertory production, the 1955 movie musical The Second Greatest Sex and Spiderwoman Theater's openly political Lysistrata Numbah!, as well as Douglas Carter Beane's Broadway musical, Lysistrata Jones, Meg Wolitzer's The Uncoupling, and the international Lysistrata Project protests, which updated the classic in the contemporary context of the Iraq War.
Although Aristophanes' oeuvre has been the subject of much classical scholarship, Lysistrata has received little attention from feminist theatre scholars or performance theorists. In response, this book maps current debates over Lysistrata's dubious feminist underpinnings and uses performance theory, cultural studies, and gender studies to investigate how new adaptations reveal the socio-political climates of their origins.

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About the Author:

Emily Klein is Associate Professor of English and Modern Drama atSaint Mary's College of California. Her book, Sex & War on theAmerican Stage: Lysistrata 1930-2012 was featured in The New York Times,Ms., and Vice articles historicizing Spike Lee's Chi-raq. Her work hasappeared in American Quarterly, Women and Performance, and Frontiers aswell as Political and Protest Theater After 9/11: Patriotic Dissent, edited by Jenny Spencer (2012).

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"When Lysistrata has been put in an African-American context, blackwomen's sexuality is often interpreted through the lens of raciststereotyping and sexism rather than with the subversive and satiricalpossibilities afforded white female counterparts. [...] "When you read the script, you really see how Theodore Brown positionedthe female characters as these dangerous, sexual and yet godly andmorally righteous bodies of change," said Emily Klein, author of Sex and War on the American Stage: Lysistrata in Performance 1930-2012." -Salamishah Tillet, The New York Times

"Klein’s carefully researched examination of a variety of understudied adaptations of Lysistrata makes a strong case for the play’s continued relevance both in performance and on the page, as well as for addressing complex questions relating to the cultural performance of gender." - Helene P. Foley, Theatre Journal

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Book Description Taylor & Francis Ltd, United Kingdom, 2014. Hardback. Condition: New. Language: English. Brand new Book. American adaptations of Aristophanes' enduring comedy Lysistrata have used laughter to critique sex, war, and feminism for nearly a century. Unlike almost any other play circulating in contemporary theatres, Lysistrata has outlived its classical origins in 411 BCE and continues to shock and delight audiences to this day. The play's "make love not war" message and bawdy humor render it endlessly appealing to college campuses, activist groups, and community theatres - so much so that none of Aristophanes' plays are performed in the West as frequently as Lysistrata.Starting with the play's first mainstream production in the U.S. in 1930, Emily B. Klein explores the varied iterations of Lysistrata that have graced the American stage, page, and screen since the Great Depression. These include the Federal Theatre's 1936 Negro Repertory production, the 1955 movie musical The Second Greatest Sex and Spiderwoman Theater's openly political Lysistrata Numbah!, as well as Douglas Carter Beane's Broadway musical, Lysistrata Jones, and the international Lysistrata Project protests, which updated the classic in the contemporary context of the Iraq War.Although Aristophanes' oeuvre has been the subject of much classical scholarship, Lysistrata has received little attention from feminist theatre scholars or performance theorists. In response, this book maps current debates over Lysistrata's dubious feminist underpinnings and uses performance theory, cultural studies, and gender studies to investigate how new adaptations reveal the socio-political climates of their origins.Emily B. Klein is Assistant Professor of English and Drama at Saint Mary's College of California. Her work has appeared in Women and Performance and Frontiers as well as Political and Protest Theater After 9/11: Patriotic Dissent (Routledge, 2012). Seller Inventory # AA69780415812153

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Book Description Taylor Francis Ltd, United Kingdom, 2014. Hardback. Condition: New. Language: English . Brand New Book. American adaptations of Aristophanes enduring comedy Lysistrata have used laughter to critique sex, war, and feminism for nearly a century. Unlike almost any other play circulating in contemporary theatres, Lysistrata has outlived its classical origins in 411 BCE and continues to shock and delight audiences to this day. The play s make love not war message and bawdy humor render it endlessly appealing to college campuses, activist groups, and community theatres - so much so that none of Aristophanes plays are performed in the West as frequently as Lysistrata. Starting with the play s first mainstream production in the U.S. in 1930, Emily B. Klein explores the varied iterations of Lysistrata that have graced the American stage, page, and screen since the Great Depression. These include the Federal Theatre s 1936 Negro Repertory production, the 1955 movie musical The Second Greatest Sex and Spiderwoman Theater s openly political Lysistrata Numbah!, as well as Douglas Carter Beane s Broadway musical, Lysistrata Jones, and the international Lysistrata Project protests, which updated the classic in the contemporary context of the Iraq War. Although Aristophanes oeuvre has been the subject of much classical scholarship, Lysistrata has received little attention from feminist theatre scholars or performance theorists. In response, this book maps current debates over Lysistrata s dubious feminist underpinnings and uses performance theory, cultural studies, and gender studies to investigate how new adaptations reveal the socio-political climates of their origins. Emily B. Klein is Assistant Professor of English and Drama at Saint Mary s College of California. Her work has appeared in Women and Performance and Frontiers as well as Political and Protest Theater After 9/11: Patriotic Dissent (Routledge, 2012). Seller Inventory # AA69780415812153

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Book Description Taylor & Francis Ltd, United Kingdom, 2014. Hardback. Condition: New. Language: English. Brand new Book. American adaptations of Aristophanes' enduring comedy Lysistrata have used laughter to critique sex, war, and feminism for nearly a century. Unlike almost any other play circulating in contemporary theatres, Lysistrata has outlived its classical origins in 411 BCE and continues to shock and delight audiences to this day. The play's "make love not war" message and bawdy humor render it endlessly appealing to college campuses, activist groups, and community theatres - so much so that none of Aristophanes' plays are performed in the West as frequently as Lysistrata.Starting with the play's first mainstream production in the U.S. in 1930, Emily B. Klein explores the varied iterations of Lysistrata that have graced the American stage, page, and screen since the Great Depression. These include the Federal Theatre's 1936 Negro Repertory production, the 1955 movie musical The Second Greatest Sex and Spiderwoman Theater's openly political Lysistrata Numbah!, as well as Douglas Carter Beane's Broadway musical, Lysistrata Jones, and the international Lysistrata Project protests, which updated the classic in the contemporary context of the Iraq War.Although Aristophanes' oeuvre has been the subject of much classical scholarship, Lysistrata has received little attention from feminist theatre scholars or performance theorists. In response, this book maps current debates over Lysistrata's dubious feminist underpinnings and uses performance theory, cultural studies, and gender studies to investigate how new adaptations reveal the socio-political climates of their origins.Emily B. Klein is Assistant Professor of English and Drama at Saint Mary's College of California. Her work has appeared in Women and Performance and Frontiers as well as Political and Protest Theater After 9/11: Patriotic Dissent (Routledge, 2012). Seller Inventory # BTE9780415812153

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Book Description Hardcover. Condition: New. Hardcover. American adaptations of Aristophanes' enduring comedy Lysistrata have used laughter to critique sex, war, and feminism for nearly a century. Unlike almost any other play circulating in con.Shipping may be from multiple locations in the US or from the UK, depending on stock availability. 164 pages. 0.617. Seller Inventory # 9780415812153

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