An exploration of theatrical history, theory, and technique is a “triumvirate” that can “determine the value of any performance practice for an enlightened theatre” (Gainor 173). My thesis addresses the question of what it means to be a feminist performer, and overall theatre practitioner. Feminist critiques have often attempted to understand a technique best suited for women to practice theatre that is reflective of feminist ideals. My thesis begins by exploring specific examples of female representation in theatre and in society. It covers the patriarchal structure of society, the opinions held about women and their position, and their categorization into inferiority, as displayed in Ancient Greece, the English Renaissance, and English Restoration. Furthermore, it reflects on the feminist critiques and theories regarding male gaze and gender performativity as aspects of domineering patriarchal control. My thesis then discusses the criticisms of acting techniques, influenced by the Feminist Movement in the United States, and an analysis of existing acting techniques and how women can use them to approach a role. Finally, I reflect upon my direction of a play adaptation of The Picture of Dorian Gray, originally by Oscar Wilde, and how I used my research to potentially alter the misogynistic aspects of the play. Overall, my thesis aims to inform and enlighten theatre practitioners who desire to incorporate feminist critique and theory into their work.
About the presenterKristin Leadbetter
Kristin Leadbetter has a Master of Arts in Theatre Arts from Stony Brook University. She has her BA from SUNY Geneseo in Communication. She has worked for iHeartMedia, and Simple Studios NYC in event management, public relations, and voice acting. She has acted, directed, designed, and written for the stage. She plans to pursue her P.h.D. in Theatre and hopes to teach at the collegiate level.