Feminist Drama
The women’s “suffrage” movement began many years ago dating back to 1848, a time when women had no rights to vote. From that time on, it has still taken women many years to develop the respect that a man receives in today’s society.
During the 1960’S and 1970’s, the term Feminist and/or Feminism was formed, establishing a much higher meaning for women fighting for their rights to live in an equal society. With that, Feminism has established many forms of communication throughout America and the world; from literature, music, dance, art, poetry, and even through the realm of theatre.
Feminist Theatre has created a change in the role of women in society by taking the traditional aspects of Aristotelian theatre and turning the “table”; giving new meaning to contemporary drama. Many female playwrights, such as Susan Lori Parks, Margaret Edson, and Paula Vogel have helped changed contemporary drama by giving society a new way to look through the “looking glass”. While focusing on the struggle of women in depth these playwrights have also helped create a new role of political standard in theatre.
The Writing Style
Again, as stated, the writing style or writing formation of Feminist Drama is different from the traditional Aristotelian Drama, for Aristotelian Drama uses a clear concept of structure. Feminist Drama is often written with a poetic structure in nature which allows for a more dynamic interpersonally in a theatrical piece. This form of drama also uses the structure of having the present dictate the past within the beginning of the drama; meaning that the character will transform from an adult to child and/or vice versa midway in the drama.
In Paula Vogel’s theatrical piece, How I Learned To Drive, the reader has the opportunity to view the life of a young woman named Lil Bit and her Uncle Peck, whom is discovered to be a pedophile in the drama. Vogel takes the reader on a tour of her childhood in a form of drama that is written in a concept of present to past. With this structure of writing, the reader is able to gain an insight of how Lil Bit progressed into a young adult from an early stage in the drama, rather than seeing the progress develop. Beginning a drama using this structure can impact how a reader will view the rest of the drama, if given too much foreshadow or information. This form of writing also indicates that there is no defined beginning, middle, and/or end like a traditional Aristotelian drama. This is not to say that Vogel has not defined a beginning, middle or an end; it just simply means that she is taking on a new direction of writing by going against the norm of theatrical drama. Vogel seems to “scatter brain” her ideas by using the present to past and vice versa routine, which creates this non-linear structure within the drama. With that non-linear structure, the drama instantly can be said to be a feminist drama.
Unlike Vogel’s drama, Susan Lori Parks drama In The Blood does follow a linear plot structure. The Exposition is of Hester struggling to support her five children and the rising action is the discovery of two of her children’s fathers. The climax of the drama is reached when Hester is rejected by both of the fathers that were discovered. In conclusion, Hester is in jail for killing her eldest son.
With the linear plot structure, the reader is able to grasp an understanding of the material in a much clearer fashion rather than being tossed back and forth into different time frames. Also, in Parks writing style, the language that she gives each character is of direct notion, for each character can be easily seen as an individual, separated from one another. This allows for the reader to take the drama and give each character a personality of his or her own.
Margaret Edson, the master mind behind the story of WIT, also took a new direction in her theatrical piece. Within the piece, she uses poetry from John Donne which allows for the reader to understand the quality and personality of Edson’s protagonist in the drama, Vivian. Edson also uses the present to past; past to present technique that Vogel used in How I Learned To Drive. Edson gives the reader an upfront conclusion at the beginning of the drama revealing that the protagonist is going to die at the end of the play. With so much information given in such an early state, the reader can be left in a sense of wonder as whether or not to continue reading the drama. Though WIT is not written using the Aristotelian structure, Edson gives her drama a clear structure that allows the reader to clearly understand the concept of the story without any confusion.
Characterization
Feminist Drama focuses on the subject of women in society and political issues that women face. In each of the three plays that have been discussed so far the playwrights protagonist is each different and similar.
Each character in the three plays are similar in the fact that each one is independent, which feminist drama is driven upon showing the strong cultural independency that a woman possesses.
The How I Learned To Drive character Li’l Bit begins as this confused, reluctant individual on the verge of losing herself it seems, due to the molestation and the emotional trauma that she had undergone for a great deal of her life. She goes through these sequences of questions and delusions of wondering why she is going through what she is. Her Grandmother does not believe that she needs to know about sex, for she believes that if she discovers it, she will become a whore. Her Grandfather tells her that she is only good for one thing and that is lying on her back. Her Uncle Peck tells her how beautiful and smart she is, along with some unmentionables. With all the “pushing and pulling” of herself with her family, Li’l Bit becomes confused of how her life should be lead. Vogel creates this character, which is ultimately herself, that is strong witted, sharp, and discovers who she is when she separates herself from her dysfunctional family. This creates a true form of feminist drama; showing the derailed issues of a female, then bringing to light the strength that a female has to survive.
Susan Lori Parks character, Hester, from In The Blood possesses the qualities of a strong, independent female, but Hester is also weak and naive. Hester believes that if she could just get her “leg up” then everything will be alright. However, she is given many opportunities to be successful but turns away from them in fear for her children. Throughout the drama she is taken advantage of by others for she cannot read, write, and is not an educated woman of prominent standing in society. She is looked upon as a fragile, weak, black woman who should have no rights in society. Through her ordeals and the trust that she gives those who hurt her, she reaches her boiling point towards the end of the drama when her eldest son repeats the word slut. The end of the play is of Hester in jail and this depiction shows that it does not matter how strong or independent a woman can be; she can also be weak and naive.
Margaret Edson creates a character in her drama WIT that has no concern in the feeling of others or others having concern for her. Vivian, the protagonist has found out that she has cancer and does not seem to take notice that it is an ordeal that will affect her life for the better. Vivian lives by the poetry of Donne and within the poetry it suggests that life is hard and no good, so therefore there is no reason to have feeling. As the drama progresses while Vivian is in chemotherapy, there is much growth in her emotional state of being. This growth is transformed with the help from Susie and Ashford who show Vivian the care that she is need of and has ultimately longed for. The character that Edson created with Vivian is another aspect of feminist drama for it is showing a transformation of female in society.
Conclusion
I believe that feminist theatre has allowed for a change to come into society; be it politics, religion, or culturally. Feminist theatre speaks truth on society and what has and is taking place. It not only speaks of the lives of women in society, it speaks of humanity as a whole and how we all can change to create an equal society. For me, feminist theatre is a homestead and it allows for me to feel at ease when studying the structure and formality of the art. Feminist theatre takes on a role that allows for readers, viewers, and others to see his or her life in detail. This form of theatre has allowed for me to write in a way that I never thought would be possible, which is out of the normal ideals of society and theatre. Feminist Theatre is on a constant rise and I believe that with the continuation of this theatre, it will become much stronger and prominent in society.
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