Feminist Critique of Dramatic Structure and Theatrical Reception

Feminist Perspectives on Class and Power

Michelene Wandor discusses the limitations of non-socialist feminism:

“And because bourgeois feminism accepts the status quo (with a bit more power for women) it also—like radical feminism—has no interest in a class analysis, and certainly no interest whatsoever in socialism or the labour movement.”

Wandor contrasts this with the scope of socialist feminism:

“Socialist feminism ... proposes changes both in the position of women as women, and in the power relations of the very basis of society itself—its industrial production, and its political relations. Thus while radical and bourgeois feminism can account for certain kinds of reform change for women, only socialist feminism can offer an analysis which provides for genuine, revolutionary change ... Men are challenged by socialist feminism on the basis of their class power, and their gender power—as male in a society which values the male higher than the female.”

Challenging Phallic Narratives in Dramatic Structure

Elaine Aston notes the traditional dramatic model:

“Resemblance between the Aristotelian model of dramatic structure with male sexuality and with phallic modes of pleasure [‘ejaculatory narratives’] that actually ‘glorify the phallus’ centre stage.”

Amelia Howe Kritzer expands on the ideological implications:

“From a socialist-feminist standpoint, the Aristotelian ideal can be seen as confirming patriarchal ideology and the power of traditional elites, as well as validating a phallic paradigm of creativity.”

Theatrical Practice and Audience Impact

Dialectic vs. Climax: Churchill's Writing

Simon Trussler suggests an alternative structure in Caryl Churchill's work:

“[T]he ‘feminine’ quality of [Churchill’s] writing may simply have to do with dialectic replacing conflict, and open-endedness being preferred to climax.”

Sarah Kane on Blasted

Sarah Kane reflects on the reception and nature of her controversial play, Blasted:

• “I suppose the fact that it’s a play about a middle-aged male journalist who rapes a young woman and is raped and mutilated himself can’t have endeared me to a theatre full of middle-aged male critics.”

• “Because the play is experiential rather than speculative. The title refers not only to the content but also to the impact it seems to have had on audiences.”

• “I wasn’t at all aware that Blasted would scandalize anyone. At the time I wrote it, I didn’t even expect it to be produced. Personally, I think it is a shocking play, but only in the sense that falling down the stairs is shocking—it’s painful and it makes you aware of your own fragility, but one doesn’t tend to be morally outraged about falling down stairs.”