Abstract
Recent articles in this journal by Michael Bowman and Elizabeth Bell have challenged the foundational assumptions of the oral interpretation legacy within contemporary performance studies discourse. Following these critiques, this essay analyzes traditional chamber theatre practice from a feminist perspective. In particular, it argues that by reinvesting in the basic conventions of staging and scripting within the creation and production of staged adaptations, a feminist chamber theatre method becomes not only imaginable, but desirable.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
