Your cart is empty.
Feminist Theatre and Performance

Feminist Theatre and Performance

Table of contents

Messages in the Wilderness by Cindy Cowan (1985)

Fear of Feminism by Kate Lushington (1985)

The Body as Spectacle: Women’s Theatre in Québec by Jane Moss (1986)

The Company of Sirens: Popular Feminist Theatre in Canada by Kym Bird (1989)

Getting the Message: The NAAGs of Halifax by Donna E. Smyth (1989)

Women’s Circle, Women’s Theatre by Wendy Philpott (1991)

Playing Solitaire: Spectatorship and Representation in Canadian Women’s Monodrama by Patricia Badir (1992)

Naming Names: Black Women Playwrights in Canada by Djanet Sears (1992)

Critical Revisions: Ann-Marie MacDonald’s Goodnight Desdemona (Good Morning Juliet) by Ann Wilson (1992)

Making It Happen: A Commercial Model for Self-Production by Shawna Dempsey and Lorri Millan (1995)

Diversity and Voice: A Celebration of Canadian Women Writing for Performance by Susan Bennett (1996)

A Clash of Symbols: When I Put on What I Want to Put on by Louise H. Forsyth (1997)

Collective Creation and the Changing Mandate of Nightwood Theatre by Shelley Scott (1997)

A Feminist Absurd: Margaret Hollingsworth’s The House That Jack Built by Celeste Derksen (2002)

Still “Activist” after All These Years? Reflections on Feminism and Activist Theatre, Then and Now by Cynthia Grant (2004)

Still Acting Out After 25 Years by Jennifer O’Connor (2004)


Critical Perspectives on Canadian Theatre in English sets out to make the best critical and scholarly work in the field readily available. The series publishes the work of scholars and critics who have traced the coming-into-prominence of a vibrant theatrical community in English Canada.