Women’s identity: How do you find it when the world claims you were born with it?

Type :

Term papers

Pages :

6 pages

Format :

.doc

Published date :

07/29/2009

Category :

Political science

Sub category :

Social sciences

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Summary :

Introduction
The uprising of the feminist movement in the 1970's
The four playwrights
1. Vogel
2. Fornes
3. Howe
4. Miller
The character of Julia
Men as victims of evil
The Mineola Twins
The forces pushing down on women
Interview with Vogel
Conclusion
Works cited

Abstract

women in theatre are always up or down, the virgin or the whore, over-run with emotions or a stone cold bitch. There is rarely a happy medium for women on the stage. But there is an in-between. There is a middle ground between being an extreme, and being a bore. Despite the fact that every woman knows that they as individuals are never 'one or the other,' there is a near epidemic of this happening on stage. women playwrights recognize this as a problem. Most are trying to fix this, some in an obvious way and others a little more subtly. The first step toward this is by writing more 'genuine' female characters; genuine here meaning more dimensional, more complex, and more true-to-life representations of females.
with many women tackling this issue, educating their peers and taking a more fearless approach to writing, it would seem that the world would start to 'get it.' Unfortunately, women playwrights are suffering from the same stereotypical treatment their characters are receiving. Therefore, the women that are appearing more and more on stage since the 1970s are on a quest. Sometimes it is background noise, and sometimes it is the main protagonist's battle. Either way, women characters have begun to struggle with identity openly and tirelessly because women around the world are doing the same thing. Although identity as a word is defined in a hard-fast rigid kind of way, identity as a cultural state of being is not so black and white.