Paula Vogel by Joanna Mansbridge

2016 ◽  
Vol 26 (2) ◽  
pp. 268-269
Author(s):  
Jennifer E. Popple
Keyword(s):  
Paula Vogel

scholarly journals Paula Vogel And The Modern American Female Playwrights

2021 ◽  
Vol 0 (44) ◽  
pp. 46-71
Author(s):  
Rasha Abdulmunem Azeez ◽  
Keyword(s):  
Bertolt Brecht ◽  
Tennessee Williams ◽  
August Strindberg ◽  
Pulitzer Prize ◽  
Arthur Miller ◽  
Edward Albee ◽  
Female Writers ◽  
Paula Vogel

Reading and analyzing Paula Vogel’s plays, the readers can attest that she achieves success in drama or theater because she is passionate about theater. Vogel is a modern American playwright who won the 1998 Pulitzer Prize for drama. Her success and insight in playwriting or in adapting do not come all of a sudden; she is influenced by many writers. Vogel is influenced by many American dramatists, including Eugene O’ Neill, Arthur Miller, Tennessee Williams, and Edward Albee, and by other non-American writers, including August Strindberg, Anton Chekhove, and Bertolt Brecht. Certainly, there were female playwrights who wrote preeminent plays and they influence Vogel as well. Nevertheless, dramas by female writers, as a matter of fact, remain marginalized. This paper focuses on the influence of some female playwrights on Vogel.

Gestures of Remembrance in Paula Vogel and Rebecca Taichman’s Indecent

Modern Drama ◽  
2018 ◽  
Vol 61 (4) ◽  
pp. 479-500
Author(s):  
Joanna Mansbridge
Keyword(s):  
Paula Vogel

Revisioning the Woman's Part: Paula Vogel's ‘Desdemona’

1999 ◽  
Vol 15 (2) ◽  
pp. 131-141
Author(s):  
Sharon Friedman
Keyword(s):  
New York ◽  
Gender Ideology ◽  
Associate Professor ◽  
New York University ◽  
Critical Perspective ◽  
Female Desire ◽  
Paula Vogel ◽  
Lorraine Hansberry ◽  
Susan Glaspell ◽  
Women Dramatists

In Desdemona, Paula Vogel's revision of Shakespeare's Othello, we have a Desdemona who is Othello's worst nightmare, the transformation of lago's fiction into reality. Why has Paula Vogel created a Desdemona who, though ostensibly inside out, still appears to be Othello's projection? Sharon Friedman argues that although Paula Vogel's raucous Desdemona draws on many of the conventions of feminist revisioning, it marks an important shift in the feminist critical perspective in drama – as characterized by Lynda Hart, ‘from discovering and creating positive images of women … to analyzing and disrupting the ideological codes embedded in the inherited structures of dramatic representation’. In a deconstructive parody, Vogel dislodges the convention of the intimate scene between women in Shakespeare's theatre and expands it into an entire play. Decentering the tragic hero, she foregrounds and enacts the threat of female desire that incites the tragic action, and disrupts the familiar categories of virgin, whore, and faithful handmaiden by forging links with gender ideology and class status. The author, Sharon Friedman, is an Associate Professor in the Gallatin School of New York University, and the author of several articles on American women dramatists, including Susan Glaspell and Lorraine Hansberry.

scholarly journals Paula Vogel

2014 ◽  
Author(s):  
Joanna Mansbridge
Keyword(s):  
Paula Vogel

Disruptions in Representation: Anne Bogart's Creative Encounter with East Asian Performance Traditions

1997 ◽  
Vol 22 (2) ◽  
pp. 105-110 ◽  
Author(s):  
Eelka Lampe
Keyword(s):  
Marshall Mcluhan ◽  
Art And Politics ◽  
Avant Garde ◽  
Mccarthy Era ◽  
Original Dance ◽  
Performance Traditions ◽  
Paula Vogel ◽  
Anne Bogart ◽  
Danton's Death ◽  
The U.S

The avant-garde theatre director Anne Bogart has made her name in the U.S. theatre community through her deconstructions of modern classics such as the musical South Pacific (1984), Cinderella/Cendrillon (1988) after Massenet's opera, Büchner's Danton's Death (1986), Gorki's Summerfolk (1989), William Inge's Picnic (1992), as well as through her idiosyncratic and original dance/theatre ‘compositions’ developed collabortively with her company, the Saratoga International Theater Institute (SITI). Prominent among such compositions have been 1951 (1986) on art and politics during the McCarthy era, No Plays, No Poetry (1988) on Brecht's theoretical writings, American Vaudeville (1991), and The Medium (1993) on the writings of the Canadian media philosopher Marshall McLuhan. Bogart has been acclaimed for her astute directing of the work by contemporary playwrights, such as Paula Vogel, Charles Mee Jr. and Eduardo Machado.

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