Feminist Futures?

GERALDINE HARRIS is Senior Lecturer in Theatre Studies at Lancaster University, UK. She has published widely on female performance and performativity including Staging Femininities (1999). Her more recent book Beyond Representation focuses on the politics and aesthetics of television drama. She also works as a devisor, writer, director and adapter. ELAINE ASTON is Professor of Contemporary Performance at Lancaster University, UK. She has published extensively on feminist theatre and performance, and her major works include An Introduction to Feminism and Theatre (19

• Acknowledgements Notes on Contributors Feminist Futures and the Possibilities of 'We'?; G.Harris & E.Aston Navigating Postfeminism: Writing Out of the Box; J.Reinelt Citizenship and Gender in Asian British Performance; M.Ponnuswaimi Curious Feminists; L.Hill & H.Paris 'Bad Girls' and 'Sick Boys': New Women Playwrights and the Future of Feminism; E.Aston Predicting the Past: Histories and Futures in the Work of Women Directors; A.Monks The Screens of Time: Feminist Memories and Hopes; S.Case Africa Lives on in We: Histories and Futures in the Work of Women Directors; SuAndi The Politics of the Personal: Autobiography in Performance; D.Heddon Performing in Glass: Reproduction, Technology, Performance and the Bio-spectacular; A.Furse 'It is Good to Look at One's Own Shadow': A Woman's International Theatre Festival and Questions for International Feminism; E.Aston , G.Harris & L.Simic Gendering Space: The Desert and the Psyche in Contemporary Australian Theatre; J.Tompkins Angry Again? - New York Women Artists and Feminist Futures; L.Champagne , C.Mac Low R.Margraff & F.Templeton Bibliography Index

'[A] resolutely interrogatory body of essays... Feminist Futures? is an admirable inquiry, one question mark that inevitably raises many more.' - Laura Baggaley, Times Literary Supplement 'Feminist Futures?, like feminism itself, [is] a polyvocal interrogation of complex issues which can have no single articulation or solution, but in which many different voices speak of common concerns.' - Laura Baggaley, Times Literary Supplement "For those interested in women and performance, it is an absolutely critical book.' - Erin Striff, Modern Drama