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Louise H. Forsyth
Louise H. Forsyth has always
loved performance and theatre. As an amateur lover of the stage, she
has acted, sung, danced, written, directed, produced, translated, stage
managed, served as props manager, and hung out as much as she could
as spectator. Woven into an amateur obsession with theatre has been
her professional life, where she wrote two theses on the classic French
writer of theatrical comedy, Molière, taught courses and supervised
theses in theatre, drama, and dramatic literature, wrote scholarly studies
about French and Québec playwrights, and theorized about acting and
dramatic writing. Her areas of academic specialization are feminist
performance and dramaturgy in Québec. Along with her passion for what
the women of Québec have written for theatre, she has been engaged
for quite some time with developing theories of dramaturgy and acting
au féminin, along with revealing the sources of tenacious sexism
in the practices and conventions for doing theatre, for studying and
evaluating it, and for recounting its history. In short, she has been
wondering for quite some time why women’s roles have tended to remain
stereotypical in works for stage, TV and film, why theatre done by women—when
its perspective is explicitly derived from a woman’s point of view—is
still easily dismissed with a summary shrug as deserving only condescending
scorn, why women’s theatrical experimentation is so rarely discussed
by scholars as serious theoretical work or used by them in their own
theoretical reflections, and why the silence of critics on women and
their richly creative activities has not yet been overcome when it comes
to their accounts of theatre history.
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