2005 年 43 巻 p. 115-137
With the women's liberation movement of the 1960s and 1970s, many women playwrights such as Megan Terry, Ntozake Shange, Maria Irene Forness, and Adrienne Kennedy began to search for new forms and language for the feminist theatre. Revolting against the established masculine form of the theatre, these feminist playwrights abandoned the linear plot and consistency in storytelling, and instead brought together fragmented or unrelated episodes as a collage. In the 1980s, feminism itself came to be questioned and altered: Beth Henley, Marsha Norman, and Wendy Wasserstein focused on the mother-daughter relationship in their naturalistic plays and received Pulitzer Prizes, while more radical (mostly lesbian and ethnic) feminists began to present their experimental work at their own community theatres by deconstructing the stark realities of their sexuality. More recently, women-of-color writers are endeavoring to bring new voices to the American feminist theatre, which I hope will help the present rigid and narrow society after 9/11 to open up, bringing forth peace to society.
