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FEMINISMS IN PAM GEMS’ PLAY DUSA, FISH, STAS AND VI

Year 2018, Issue: 30, 17 - 27, 15.01.2018

Abstract

The purpose of this study is to examine Pam Gems’ Play Dusa, Fish, Stas and Vi (1977), which portrays the inner lives of
four women, through a blend of three major feminist perspectives; namely liberal feminism, radical feminism, and socialist
feminism. The play supports the “the personal is political” feminism as well, since the reason of the oppression of women is
the political decisions of men that have great impact on the lives of each individual woman. The four title characters represent
a spectrum of female experience and women narratives in a style of biographical theatre. The common foreground for them
is their struggle to survive in a male-dominated society. The play depicts friendship as a bond intended for solving individual
problems with men rather than collectives fight against patriarchal power. The unbalanced gap between the political and the
personal life causes Fish’s downfall when she realizes women have no complete liberation in the private life.

References

  • Aston, E. (1994). An Introduction to Feminism and Theatre, Routledge, London.
  • Aston, E. (2000). “Pam Gems: Body Politics and Biography”, The Cambridge Companion to Modern British Women Playwrights, (Ed: E. Aston and J. Reinelt), Cambridge UP, Cambridge. 157-173.
  • Austin, G. (1990). Feminist Theories for Dramatic Criticism, The University of Michigan Press, Ann Arbor, Michigan.
  • Case, S. E. (1988). Feminism and Theatre, Methuen, New York.
  • Churchill, C. (1996). Plays: 2 Softcops, Top Girls, Fen, Serious Money, Bloomsburry Methuen Drama, London.
  • Burkman, K. H. (1993). “The Plays of Pam Gems: Personal/Political/Personal”, British and Irish Drama since 1960, (Ed. J. Acheson), St. Martin’s Press, London. 190-201.
  • Dere, Ö. (2009). Feminist Voices in Post-War British Drama: Pam Gems’s Dusa, Fish, Stas and Vi and Loving Women, Caryl Churhcill’s Vinegar Tom and Top Girls and Sarah Daniels’s Ripen Our Darkness and Beside Herself. (Unpublished M.A. Thesis). Atılım University, Ankara.
  • Dimple, G. (2003). Breaking the Bounds: British Feminist Dramatists Writing in the Mainstream since c. 1980, Peter Lang Publishing, New York. Retrieved from the ProQuest.
  • Dolan, J. (1991). The feminist Spectator as Critic, University of Michigan Press, Ann Arbor, Michigan.
  • Gems, P. (1983). “Imagination and Gender”, Gender and Writing, (Ed. M. Wandor, Pandora Press, London.
  • - - - . (2008). Piaf. Oberon Books, London.
  • Godiwala, D. (2006). Queer Mythologies: The Original Stageplays of Pam Gems, intellect books, Portland, Oregon.
  • - - - . (2003). “White Women’s Mythologies”, Breaking the Bounds: British Feminist Dramatists Writing the Mainstream since c. 1980. New York, NY: Peter Lang Publishing. ProQuest.eberary. Web.(7.3.2016).
  • Goodman, L. (1993). Contemporary Feminist Theatres: To Each and Her Own, Routledge, New York.
  • Hartmann, H. (1979). The Unhappy Marriage of Marxism and Feminism Towards a More Progressive Union. Retrieved from http://web.ics.purdue.edu/~hoganr/.../Hartmann_1979.pdf.
  • Innes, C. (1992). Modern British Drama 1890-1990, Cambridge University Press, Cambridge.
  • Jaggar, A. (1983). Feminist Politics and Human Nature, Rowman & Allanheld, New Jersey.
  • Keyssar, H. (1984). Feminist Theatre: An Introduction to Plays of Contemporary British and American Women, Macmillian, London.
  • Millett, K. (1969). Sexual Politics. Virago, London.
  • Peacock, K. D. (1991). Radical Stages: Alternative History in Modern British Drama, Greenwood Press, New York.
  • Sternlicht. S. (2004). A Reader’s Guide to Modern British Drama, Syracuse University Press, Syracuse.
  • Wandor, M. (1981). Introduction to Carry on Understudies: Theatre and Sexual Politics, Routledge & Kegan Paul, Londont.

PAM GEMS’İN DUSA, FISH, STAS AND VI ADLI OYUNUNDA FEMİNİZMLER

Year 2018, Issue: 30, 17 - 27, 15.01.2018

Abstract

Bu çalışmanın amacı üç ana feminist perspektiften olan liberal feminizm, radikal feminizm ve sosyalist feminizmi harmanlayarak
dört kadının iç yaşantılarını tasvir eden Pam Gems’in Dusa, Fish, Stas and Vi (1977) adlı oyununu incelemektir. Oyun, aynı
zamanda “kişisel olan politiktir” feminizmini destekler, çünkü kadınların baskılanmasının sebebi her kadının yaşantısında büyük
bir etki bırakan erkeklerin politik kararıdır. Başlıkta isimleri geçen dört karakter, kadın deneyimlerinin çeşitliliği ve biyografik
tiyatro stilinde kadın söylemlerini temsil eder. Onların ortak planı erkek egemen toplumunda ayakta kalma mücadelesidir.
Oyun, ataerkil topluma karşı müşterek savaşımdan çok erkeklerle yaşanan bireysel sorunları çözmek amaçlı bir bağ olan
arkadaşlığı gösterir. Politik ve kişisel hayat arasındaki dengesiz boşluk, Fish’ın kadınların özel hayatında hiçbir özgürleşmenin
olmayacağını fark ettiğinde çöküşüne sebep olur

References

  • Aston, E. (1994). An Introduction to Feminism and Theatre, Routledge, London.
  • Aston, E. (2000). “Pam Gems: Body Politics and Biography”, The Cambridge Companion to Modern British Women Playwrights, (Ed: E. Aston and J. Reinelt), Cambridge UP, Cambridge. 157-173.
  • Austin, G. (1990). Feminist Theories for Dramatic Criticism, The University of Michigan Press, Ann Arbor, Michigan.
  • Case, S. E. (1988). Feminism and Theatre, Methuen, New York.
  • Churchill, C. (1996). Plays: 2 Softcops, Top Girls, Fen, Serious Money, Bloomsburry Methuen Drama, London.
  • Burkman, K. H. (1993). “The Plays of Pam Gems: Personal/Political/Personal”, British and Irish Drama since 1960, (Ed. J. Acheson), St. Martin’s Press, London. 190-201.
  • Dere, Ö. (2009). Feminist Voices in Post-War British Drama: Pam Gems’s Dusa, Fish, Stas and Vi and Loving Women, Caryl Churhcill’s Vinegar Tom and Top Girls and Sarah Daniels’s Ripen Our Darkness and Beside Herself. (Unpublished M.A. Thesis). Atılım University, Ankara.
  • Dimple, G. (2003). Breaking the Bounds: British Feminist Dramatists Writing in the Mainstream since c. 1980, Peter Lang Publishing, New York. Retrieved from the ProQuest.
  • Dolan, J. (1991). The feminist Spectator as Critic, University of Michigan Press, Ann Arbor, Michigan.
  • Gems, P. (1983). “Imagination and Gender”, Gender and Writing, (Ed. M. Wandor, Pandora Press, London.
  • - - - . (2008). Piaf. Oberon Books, London.
  • Godiwala, D. (2006). Queer Mythologies: The Original Stageplays of Pam Gems, intellect books, Portland, Oregon.
  • - - - . (2003). “White Women’s Mythologies”, Breaking the Bounds: British Feminist Dramatists Writing the Mainstream since c. 1980. New York, NY: Peter Lang Publishing. ProQuest.eberary. Web.(7.3.2016).
  • Goodman, L. (1993). Contemporary Feminist Theatres: To Each and Her Own, Routledge, New York.
  • Hartmann, H. (1979). The Unhappy Marriage of Marxism and Feminism Towards a More Progressive Union. Retrieved from http://web.ics.purdue.edu/~hoganr/.../Hartmann_1979.pdf.
  • Innes, C. (1992). Modern British Drama 1890-1990, Cambridge University Press, Cambridge.
  • Jaggar, A. (1983). Feminist Politics and Human Nature, Rowman & Allanheld, New Jersey.
  • Keyssar, H. (1984). Feminist Theatre: An Introduction to Plays of Contemporary British and American Women, Macmillian, London.
  • Millett, K. (1969). Sexual Politics. Virago, London.
  • Peacock, K. D. (1991). Radical Stages: Alternative History in Modern British Drama, Greenwood Press, New York.
  • Sternlicht. S. (2004). A Reader’s Guide to Modern British Drama, Syracuse University Press, Syracuse.
  • Wandor, M. (1981). Introduction to Carry on Understudies: Theatre and Sexual Politics, Routledge & Kegan Paul, Londont.
There are 22 citations in total.

Details

Primary Language English
Subjects British and Irish Language, Literature and Culture
Journal Section Articles
Authors

Ayça Ülker Erkan

Publication Date January 15, 2018
Acceptance Date July 14, 2017
Published in Issue Year 2018 Issue: 30

Cite

APA Ülker Erkan, A. (2018). FEMINISMS IN PAM GEMS’ PLAY DUSA, FISH, STAS AND VI. Pamukkale Üniversitesi Sosyal Bilimler Enstitüsü Dergisi(30), 17-27.
AMA Ülker Erkan A. FEMINISMS IN PAM GEMS’ PLAY DUSA, FISH, STAS AND VI. PAUSBED. January 2018;(30):17-27.
Chicago Ülker Erkan, Ayça. “FEMINISMS IN PAM GEMS’ PLAY DUSA, FISH, STAS AND VI”. Pamukkale Üniversitesi Sosyal Bilimler Enstitüsü Dergisi, no. 30 (January 2018): 17-27.
EndNote Ülker Erkan A (January 1, 2018) FEMINISMS IN PAM GEMS’ PLAY DUSA, FISH, STAS AND VI. Pamukkale Üniversitesi Sosyal Bilimler Enstitüsü Dergisi 30 17–27.
IEEE A. Ülker Erkan, “FEMINISMS IN PAM GEMS’ PLAY DUSA, FISH, STAS AND VI”, PAUSBED, no. 30, pp. 17–27, January 2018.
ISNAD Ülker Erkan, Ayça. “FEMINISMS IN PAM GEMS’ PLAY DUSA, FISH, STAS AND VI”. Pamukkale Üniversitesi Sosyal Bilimler Enstitüsü Dergisi 30 (January 2018), 17-27.
JAMA Ülker Erkan A. FEMINISMS IN PAM GEMS’ PLAY DUSA, FISH, STAS AND VI. PAUSBED. 2018;:17–27.
MLA Ülker Erkan, Ayça. “FEMINISMS IN PAM GEMS’ PLAY DUSA, FISH, STAS AND VI”. Pamukkale Üniversitesi Sosyal Bilimler Enstitüsü Dergisi, no. 30, 2018, pp. 17-27.
Vancouver Ülker Erkan A. FEMINISMS IN PAM GEMS’ PLAY DUSA, FISH, STAS AND VI. PAUSBED. 2018(30):17-2.