Kitchen Sink Realisms: Domestic Labor, Dining, and Drama in American Theatre (Paperback)

Dorothy Chansky

ISBN 10: 1609383753 / ISBN 13: 9781609383756
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Paperback. From 1918's Tickless Time through Waiting for Lefty, Death of a Salesman,A Streetcar Named Desire, A Raisin in the Sun, and The Prisoner ofSecond Avenue to 2005's The Clean House, domestic.Shipping may be from multiple locations in the US or from the UK, depending on stock availability. 304 pages. 0.408. Bookseller Inventory #

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Synopsis: From 1918’s Tickless Time through Waiting for Lefty, Death of a Salesman, A Streetcar Named Desire, A Raisin in the Sun, and The Prisoner of Second Avenue to 2005’s The Clean House, domestic labor has figured largely on American stages. No dramatic genre has done more than the one often dismissively dubbed “kitchen sink realism” to both support and contest the idea that the home is naturally women’s sphere. But there is more to the genre than even its supporters suggest.

In analyzing kitchen sink realisms, Dorothy Chansky reveals the ways that food preparation, domestic labor, dining, serving, entertaining, and cleanup saturate the lives of dramatic characters and situations even when they do not take center stage. Offering resistant readings that rely on close attention to the particular cultural and semiotic environments in which plays and their audiences operated, she sheds compelling light on the changing debates about women’s roles and the importance of their household labor across lines of class and race in the twentieth century.

The story begins just after World War I, as more households were electrified and fewer middle-class housewives could afford to hire maids. In the 1920s, popular mainstream plays staged the plight of women seeking escape from the daily grind; African American playwrights, meanwhile, argued that housework was the least of women’s worries. Plays of the 1930s recognized housework as work to a greater degree than ever before, while during the war years domestic labor was predictably recruited to the war effort—sometimes with gender-bending results. In the famously quiescent and anxious 1950s, critiques of domestic normalcy became common, and African American maids gained a complexity previously reserved for white leading ladies. These critiques proliferated with the re-emergence of feminism as a political movement from the 1960s on. After the turn of the century, the problems and comforts of domestic labor in black and white took center stage. In highlighting these shifts, Chansky brings the real home.

About the Author: Associate professor of theatre and director of the Humanities Center at Texas Tech University, Dorothy Chansky writes about American theatre, audiences, feminist theatre, and translation. She is the author of Composing Ourselves: The Little Theatre Movement and the American Audience and many articles, and coeditor of Food and Theatre on the World Stage. She writes criticism for New York Theatre Wire. She lives in Lubbock, Texas, and New York City.

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Title: Kitchen Sink Realisms: Domestic Labor, ...
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Book Description University of Iowa Press, United States, 2015. Paperback. Condition: New. Language: English. Brand new Book. From 1918's Tickless Time through Waiting for Lefty, Death of a Salesman,A Streetcar Named Desire, A Raisin in the Sun, and The Prisoner ofSecond Avenue to 2005's The Clean House, domestic labor has figuredlargely on American stages. No dramatic genre has done morethan the one often dismissively dubbed "kitchen sink realism"to both support and contest the idea that the home is naturallywomen's sphere. But there is more to the genre than even its supporterssuggest.In analyzing kitchen sink realisms, Dorothy Chansky revealsthe ways that food preparation, domestic labor, dining, serving,entertaining, and cleanup saturate the lives of dramatic charactersand situations even when they do not take center stage. Offeringresistant readings that rely on close attention to the particular culturaland semiotic environments in which plays and their audiencesoperated, she sheds compelling light on the changing debatesabout women's roles and the importance of their household laboracross lines of class and race in the twentieth century.The story begins just after World War I, as more households wereelectrified and fewer middleclass housewives could afford to hiremaids. In the 1920s, popular mainstream plays staged the plightof women seeking escape from the daily grind; African Americanplaywrights, meanwhile, argued that housework was the least ofwomen's worries. Plays of the 1930s recognized housework aswork to a greater degree than ever before, while during the waryears domestic labor was predictably recruited to the war effort-sometimes with genderbending results. In the famously quiescentand anxious 1950s, critiques of domestic normalcy became common,and African American maids gained a complexity previouslyreserved for white leading ladies. These critiques proliferated withthe reemergence of feminism as a political movement from the1960s on. After the turn of the century, the problems and comfortsof domestic labor in black and white took center stage. In highlightingthese shifts, Chansky brings the real home. Seller Inventory # BTE9781609383756

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Book Description University of Iowa Press, United States, 2015. Paperback. Condition: New. Language: English. Brand new Book. From 1918's Tickless Time through Waiting for Lefty, Death of a Salesman,A Streetcar Named Desire, A Raisin in the Sun, and The Prisoner ofSecond Avenue to 2005's The Clean House, domestic labor has figuredlargely on American stages. No dramatic genre has done morethan the one often dismissively dubbed "kitchen sink realism"to both support and contest the idea that the home is naturallywomen's sphere. But there is more to the genre than even its supporterssuggest.In analyzing kitchen sink realisms, Dorothy Chansky revealsthe ways that food preparation, domestic labor, dining, serving,entertaining, and cleanup saturate the lives of dramatic charactersand situations even when they do not take center stage. Offeringresistant readings that rely on close attention to the particular culturaland semiotic environments in which plays and their audiencesoperated, she sheds compelling light on the changing debatesabout women's roles and the importance of their household laboracross lines of class and race in the twentieth century.The story begins just after World War I, as more households wereelectrified and fewer middleclass housewives could afford to hiremaids. In the 1920s, popular mainstream plays staged the plightof women seeking escape from the daily grind; African Americanplaywrights, meanwhile, argued that housework was the least ofwomen's worries. Plays of the 1930s recognized housework aswork to a greater degree than ever before, while during the waryears domestic labor was predictably recruited to the war effort-sometimes with genderbending results. In the famously quiescentand anxious 1950s, critiques of domestic normalcy became common,and African American maids gained a complexity previouslyreserved for white leading ladies. These critiques proliferated withthe reemergence of feminism as a political movement from the1960s on. After the turn of the century, the problems and comfortsof domestic labor in black and white took center stage. In highlightingthese shifts, Chansky brings the real home. Seller Inventory # AAN9781609383756

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Book Description University of Iowa Press, United States, 2015. Paperback. Condition: New. Language: English. Brand new Book. From 1918's Tickless Time through Waiting for Lefty, Death of a Salesman,A Streetcar Named Desire, A Raisin in the Sun, and The Prisoner ofSecond Avenue to 2005's The Clean House, domestic labor has figuredlargely on American stages. No dramatic genre has done morethan the one often dismissively dubbed "kitchen sink realism"to both support and contest the idea that the home is naturallywomen's sphere. But there is more to the genre than even its supporterssuggest.In analyzing kitchen sink realisms, Dorothy Chansky revealsthe ways that food preparation, domestic labor, dining, serving,entertaining, and cleanup saturate the lives of dramatic charactersand situations even when they do not take center stage. Offeringresistant readings that rely on close attention to the particular culturaland semiotic environments in which plays and their audiencesoperated, she sheds compelling light on the changing debatesabout women's roles and the importance of their household laboracross lines of class and race in the twentieth century.The story begins just after World War I, as more households wereelectrified and fewer middleclass housewives could afford to hiremaids. In the 1920s, popular mainstream plays staged the plightof women seeking escape from the daily grind; African Americanplaywrights, meanwhile, argued that housework was the least ofwomen's worries. Plays of the 1930s recognized housework aswork to a greater degree than ever before, while during the waryears domestic labor was predictably recruited to the war effort-sometimes with genderbending results. In the famously quiescentand anxious 1950s, critiques of domestic normalcy became common,and African American maids gained a complexity previouslyreserved for white leading ladies. These critiques proliferated withthe reemergence of feminism as a political movement from the1960s on. After the turn of the century, the problems and comfortsof domestic labor in black and white took center stage. In highlightingthese shifts, Chansky brings the real home. Seller Inventory # AAN9781609383756

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