Performing women
Gender, self, and representation in late-medieval Metz
by Susannah Crowder, Anke Bernau, David Matthews
Description
More Information
Rights Information
Afghanistan, Aland Islands, Albania, Algeria, American Samoa, Andorra, Angola, Anguilla, Antarctica, Antigua and Barbuda, Argentina, Armenia, Aruba, Australia, Austria, Azerbaijan, Bahamas, Bahrain, Bangladesh, Barbados, Belarus, Belgium, Belize, Benin, Bermuda, Bhutan, Bolivia, Bosnia and Herzegovina, Botswana, Bouvet Island, Brazil, British Indian Ocean Territory, British Virgin Islands, Brunei, Bulgaria, Burkina Faso, Burundi, Cambodia, Cameroon, Canada, Cape Verde, Cayman Islands, Central African Republic, Chad, Chile, China, Christmas Island, Cocos [Keeling] Islands, Colombia, Comoros, Congo [DRC], Congo [Republic], Cook Islands, Costa Rica, Cote d'Ivoire, Croatia, Cuba, Cyprus, Czech Republic, Denmark, Djibouti, Dominica, Dominican Republic, Ecuador, Egypt, El Salvador, Equatorial Guinea, Eritrea, Estonia, Ethiopia, Falkland Islands [Islas Malvinas], Faroe Islands, Fiji, Finland, France, French Guiana, French Polynesia, French Southern Territories, Gabon, Gambia, Georgia, Germany, Ghana, Gibraltar, Greece, Greenland, Grenada, Guadeloupe, Guam, Guatemala, Guernsey, Guinea, Guinea-Bissau, Guyana, Haiti, Heard Island and McDonald Islands, Honduras, Hong Kong, Hungary, Iceland, India, Indonesia, Iran, Iraq, Ireland, Isle of Man, Israel, Italy, Jamaica, Japan, Jersey, Jordan, Kazakhstan, Kenya, Kiribati, Kuwait, Kyrgyzstan, Laos, Latvia, Lebanon, Lesotho, Liberia, Libya, Liechtenstein, Lithuania, Luxembourg, Macau, Macedonia [FYROM], Madagascar, Malawi, Malaysia, Maldives, Mali, Malta, Marshall Islands, Martinique, Mauritania, Mauritius, Mayotte, Mexico, Micronesia, Moldova, Monaco, Mongolia, Montenegro, Montserrat, Morocco, Mozambique, Myanmar [Burma], Namibia, Nauru, Nepal, Netherlands, New Caledonia, New Zealand, Nicaragua, Niger, Nigeria, Niue, Norfolk Island, Northern Mariana Islands, North Korea, Norway, Oman, Pakistan, Palau, Palestinian Territories, Panama, Papua New Guinea, Paraguay, Peru, Philippines, Pitcairn Islands, Poland, Portugal, Puerto Rico, Qatar, Reunion, Romania, Russia, Rwanda, Saint Helena, Saint Kitts and Nevis, Saint Lucia, Saint Pierre and Miquelon, Saint Vincent and the Grenadines, Samoa, San Marino, Sao Tome and Principe, Saudi Arabia, Senegal, Serbia, Seychelles, Sierra Leone, Singapore, Slovakia, Slovenia, Solomon Islands, Somalia, South Africa, South Georgia and the South Sandwich Islands, South Korea, Spain, Sri Lanka, Sudan, Suriname, Svalbard and Jan Mayen, Swaziland, Sweden, Switzerland, Syria, Taiwan, Tajikistan, Tanzania, Thailand, Timor-Leste, Togo, Tokelau, Tonga, Trinidad and Tobago, Tunisia, Turkey, Turkmenistan, Turks and Caicos Islands, Tuvalu, U.S. Minor Outlying Islands, U.S. Virgin Islands, Uganda, Ukraine, United Arab Emirates, United Kingdom, United States, Uruguay, Uzbekistan, Vanuatu, Vatican City, Venezuela, Vietnam, Wallis and Futuna, Western Sahara, Yemen, Zambia, Zimbabwe, Bonaire, Sint Eustatius, Saba, Curaçao, Saint Barthélemy, Saint Martin, French part, Sint Maarten (Dutch Part), South Sudan
Endorsements
Performing women takes on a key problem in the history of drama: the "exceptional" staging of the life of Catherine of Siena by a female actor and a female patron in 1468 Metz. Despite the perceived rarity of this familiar episode, its creators have remained anonymous. Yet the study of their performances and lives brings the elusive figure of the female performer to center stage. Beginning with the Catherine of Siena play and then expanding outward, Performing women integrates new approaches to drama, gender, and patronage with a performance methodology to trace connections among the activities of the actor, the patron, their female family members, and peers. It explores how the women of fifteenth-century Metz enacted varied kinds of performance that included and extended beyond the theater: decades before the 1468 play, for example, Joan of Arc returned from the grave in the form of a young woman named Claude, who was acknowledged formally in a series of civic ceremonies. An in-depth investigation of the full spectrum of evidence for these performances - drama, liturgy, impersonation, devotional practice, and documentary culture - both creates a unique portrait of the lives of individual women, and reveals a framework of ubiquitous female performance. The Catherine of Siena play represents a new paradigm: women forming the core of public culture. Networks of gendered performance offered roles of expansive range and depth to the women of Metz, and positioned them as vital and integral contributors to the fabric of urban life. Essential reading for scholars of pre-modern women and drama, Performing women also is relevant to lecturers and students of late medieval performance, religion, and memory.
Reviews
Performing women takes on a key problem in the history of drama: the "exceptional" staging of the life of Catherine of Siena by a female actor and a female patron in 1468 Metz. Despite the perceived rarity of this familiar episode, its creators have remained anonymous. Yet the study of their performances and lives brings the elusive figure of the female performer to center stage. Beginning with the Catherine of Siena play and then expanding outward, Performing women integrates new approaches to drama, gender, and patronage with a performance methodology to trace connections among the activities of the actor, the patron, their female family members, and peers. It explores how the women of fifteenth-century Metz enacted varied kinds of performance that included and extended beyond the theater: decades before the 1468 play, for example, Joan of Arc returned from the grave in the form of a young woman named Claude, who was acknowledged formally in a series of civic ceremonies. An in-depth investigation of the full spectrum of evidence for these performances - drama, liturgy, impersonation, devotional practice, and documentary culture - both creates a unique portrait of the lives of individual women, and reveals a framework of ubiquitous female performance. The Catherine of Siena play represents a new paradigm: women forming the core of public culture. Networks of gendered performance offered roles of expansive range and depth to the women of Metz, and positioned them as vital and integral contributors to the fabric of urban life. Essential reading for scholars of pre-modern women and drama, Performing women also is relevant to lecturers and students of late medieval performance, religion, and memory.
Author Biography
Dr Anke Bernau is Lecturer in Medieval Literature and Culture at the University of Manchester;
Manchester University Press
Manchester University Press is a leading UK publisher known for excellent research in the humanities and social sciences.
View all titlesBibliographic Information
- Publisher Manchester University Press
- Publication Date October 2018
- Orginal LanguageEnglish
- ISBN/Identifier 9781526106414 / 1526106418
- Publication Country or regionUnited Kingdom
- ReadershipGeneral/trade
- Publish StatusPublished
- SeriesManchester Medieval Literature and Culture
- Reference Code7684
Manchester University Press has chosen to review this offer before it proceeds.
You will receive an email update that will bring you back to complete the process.
You can also check the status in the My Offers area
Please wait while the payment is being prepared.
Do not close this window.