Global Feminism from Page to Stage: Teaching <em>Half the Sky</em> and <em>Seven</em>

Abstract

Imagine a dark stage with, one by one, seven women stepping forward to declare their name and country of origin. They then sit and interweave seven monologues of their individual struggles for gender justice in Cambodia, Northern Ireland, Russia, Nigeria, Pakistan, Afghanistan, and Guatemala. “What can I do?” asks Farida, an Afghani woman who feels powerless; “Maybe I can help the women of my country,” Mukhtar Mai from Pakistan realizes later in the play (Cizmar et al. 14, 27). These voices intersect, themes overlapping from speaker to speaker even as the seven stories belong to different places and times. Each woman begins by telling her story directly to the audience; but by the end, the actresses include each other in their gazes and respond to each other’s words, a symbol of their joint suffering, shared strength, and the solidarity necessary for lasting change. At the play’s conclusion, Guatemalan Congresswoman Anabella De Leon’s declaration “No more silence!” is a call to the entire audience (37). Women’s voices are heard, individually and collectively, throwing a spotlight on global gender issues and women’s crucial role in social change. What I have briefly described is the documentary play Seven, the collaboration of seven female playwrights with seven women activists connected in 2006 by the Vital Voices Global Partnership, a nonprofit nongovernmental organization supporting the development of female leaders (Vital).1 The stated mission of Vital Voices, to “identify, invest in and bring visibility to extraordinary women around the world by unleashing their leadership potential to transform lives and accelerate peace and prosperity in their communities,” is well served by the creative drama Seven (Vital). Like the more well-known Vagina Monologues, Seven is an ensemble piece of documentary theatre based on interviews. Also like Vagina Monologues, the play has minimal staging—usually just seven women, scripts in hand, on a stage devoid of props or sets. Anna Deavere Smith, an actress and writer known for her “journalism-based theatre” (Pressley), interviewed Nigerian activist Hafsat Abiola, and is perhaps the best known of the playwrights attached to the project, who also include Paula Cizmar, Catherine Filloux, Gail Kriegel, Carol K. Mack, Ruth Margraff, and Susan Yankowitz. Each playwright interviewed