Neoliberalism and Global Theatres: Performance Permutations ed. by Lara D. Nielsen, Patricia Ybarra (review) (original) (raw)

2014

Abstract

portive, yet clear-eyed, mentorship. D.A. Hadfield’s and Margaret D. Stetz’s pieces offer feminist literary critics and cultural historians the most eyeopening discussions in the collection. They provide similarly distressing accounts of Shaw’s discouraging women playwrights, specifically Janet Achurch (Hadfield) and George Egerton (the penname of Mary Chavelita Dunne [Stetz]). Hadfield shows how Shaw championed Achurch as an actress but undermined her dramaturgical efforts. And Stetz sees Shaw’s response to Egerton’s writing as bordering on the “abusive” (138). Hadfield’s conclusion applies cogently to both these discussions: Shaw’s “success in writing women was built in no small part on his ability to keep them from writing themselves” (130). Virginia Costello’s examination of the relationship between Shaw and the uncompromising anarchist and dramatic critic Emma Goldman further reveals “Shaw privileging aesthetics over politics, which results in aesthetics limiting his politics” ...

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