Abstract
Is there a specific lesbian theatre aesthetic? If so, is butch and femme at the heart of it? Or androgyny? Or the freedom-confinement dynamic? Or, on another level, distancing role from ‘essential being’, and ‘woman’ and ‘man’ as social constructs from male and female as biological entities? By focusing on a number of lesbian texts, including her own work, Nina Rapi explores both the theory and practice of an emerging aesthetic that reveals the ‘performance of being’, seeking to ‘shift the axis of categorization’, and so to create a new and exciting theatre language. Nina Rapi is a playwright and translator whose theatre work includes Ithaka (Riverside Studios, June 1989; Link Theatre, staged readings, April 1992; published in Seven Plays by Women, 1991), Critical Moments, a trilogy of shorts (Soho Poly Theatre, June 1990), Johnny Is Dead (First One Person Play Festival, Etcetera Theatre, March 1991), Dreamhouse (Oval House and Chat's Palace, April-May 1991), Dance of Guns (touring production, including King's Head and Jackson's Lane Theatres, April-May 1992), and Dangerous Oasis (Finborough, March 1993).
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