Marginalised Identity in Timberlake Wertenbaker’s Play: New Anatomies

Ayça B. Ülker Erkan

Özet


The purpose of this study is to discuss the space for a marginalized feminine identity in contemporary British feminist dramatist Timberlake Wertenbaker’s play. The play New Anatomies dramatizes the life of a historical woman called Isabelle Eberhardt, who disguised herself as an Arab man called Si Mahmoud living among Algerians. The focus of the play is the construction of a marginalised identity through dislocation of a woman from the European culture. Finding no space for her radical identity, she disguises herself as an Arab man to escape the constraints imposed on women by European ideals of femininity. Eberhardt disrupts the conventional gender codes by showing how gender is dramatized within the space of the salon. In contrast, Eberhardt is received as a man in male attire when travelling in Algeria trying to find out a space for her radical identity. She achieves a certain kind of freedom by her dislocation although this eventually leads to her death in desert. 


Anahtar Kelimeler


Contemporary British Drama, Feminist drama, Marginalized identity, Dislocation, Western/Eastern question.

Tam Metin:

PDF (English)

Referanslar


Aston, E. (1995). An introduction to feminism & drama. London: Routledge.

Carlson, S. (2000). Language & identity in Timberlake Wertenbaker’s plays. In E. Aston and J. Reinelt (Ed.), The Cambridge companion to modern British women playwrights (pp. 134-149). Cambridge: Cambridge University Press.

Carlson, S. (1989). Self, sexuality: contemporary British women playwrights and the problem of sexual identity. Journal of Dramatic Theory and Criticism. 3, (2) Spring, 157-178.

Claycomb, R. (2004). Playing at lives: biography and contemporary drama. Modern Drama, 47 (3) Fall, 525-45.

Foster, V. (2008). Reinventing Isebelle Eberhardt: rereading Timberlake Wertenbaker’s New Anatomies. Connotations, 17 (1), 109-128.

Garber, M. (1992). Vested interests: cross-dressing and cultural anxiety. New York and London: Routledge.

Gillespie, P. (1978). Feminist theatre: a rhetorical phenomenon. The Quarterly Journal of Speech, 64, 284-94.

Goodman, L. (1993). Contemporary feminist theatres: to each her own. New York, NY: Routledge.

Gömceli, N. (2010). Timberlake Wertenbaker and contemporary British feminist drama. Palo Alto, CA: Academica Press.

Isabelle Eberhardt. Wikipedia the Free Encyclopaedia. Accessed on May 2, 2015.

New Anatomies. League of Chicago Theatres. Accessed on February 2, 2017 .

Palmer, R. H. (1998). The contemporary British history play. Westport, CT: Greenwood Press.

Peacock, D. K. (1991). Radical stages: alternative history in modern British drama. New York, NY: Greenwood Press.

Wertenbaker, T. (1996). Timberlake Wertenbaker plays 1. London: Faber & Faber.

Wilson, A. (1993). Forgiving history and making new worlds: Timberlake Wertenbaker’s recent drama. In J. Acheson (Ed.) British and Irish Drama Since 1960. (pp. 146-61). New York, NY: St Martin’s Press.

Yang, C. L. (2014). The white women abroad: complicity or resistance, in unsettling whiteness. L. Michael and Samantha Schulz, (Ed.) e-book, Inter-disciplinary Press.




DOI: http://dx.doi.org/10.7596/taksad.v6i3.834

Refback'ler

  • Şu halde refbacks yoktur.




Telif Hakkı (c) 2017 Journal of History Culture and Art Research

Creative Commons License
This work is licensed under a Creative Commons Attribution 4.0 International License.

ISSN: 2147-0626