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A Woman of No Importance by Oscar Wilde is "a new and original play of modern life", in four acts, first given on 19 April 1893 at the Haymarket Theatre, London. [1] Like Wilde's other society plays, it satirises English upper-class society.
Nina Rapi's first play Ithaka was initially performed as a staged reading in 1989 at Riverside Studios by the Women's Theatre Workshop. Dimple Godiwala referring to Shadow, one of the key characters in the play, wrote: 'Shadow is where we begin to recognise the depths of sexuality (and otherness) we all possess...To invite an introspection which rests on the shadowed self we need to recognise ...
Carol Chillington Rutter, author of Enter the Body: Women and Representation on Shakespeare's Stage (2001), focuses for instance on the body of Cordelia, as her father, King Lear, carries her on to the stage; on the body of Ophelia in the grave; and on the bodies of the two women on the bed at the end of Othello, "a play that destroys women." [5]
Top Girls is a 1982 play by Caryl Churchill.It centres on Marlene, a career-driven woman who is heavily invested in women's success in business. The play examines the roles available to women in old society, and what it means or takes for a woman to succeed.
The play was developed during 2012 at the National Theatre Studio [1] and the Royal Academy of Dramatic Arts. [2] [3] Its first full production ran at Shakespeare's Globe from 24 August to 11 October 2013. [4] [5] The printed play includes a dedication to female education activist and Nobel laureate, Malala Yousafzai. [6]
The play deals with the personal ordeals of each of the female characters. Many of them are very touching; a few are even intensely emotional. However, there is also the very comical. Even the funny ones, however, have an underlying depth to them that gives a sensitive insight into each of the characters involved.
Pillar of Fire and Other Plays (1975), by Ray Bradbury; Play It Again, Sam (1969), by Woody Allen; Plaza Suite (1968), by Neil Simon; The Pleasure of His Company (1958), by Samuel A. Taylor; The Poet & the Rent (1986), by David Mamet; POTUS: Or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive (2022), by Selina Fillinger
The play is considered to be feminist by critics and scholars, in that it offers a woman's perspective on female characters and their thoughts, feelings, and relationships. [ 22 ] [ 23 ] Fornés called it "a pro-feminine play rather than a feminist play", [ 24 ] while one critic praises its exploration of the possibilities and risks of women's ...