Thesis (M.A.I.S.)--Oregon State University, 2008. / Printout. Includes bibliographical references (leaves 106-113). Also available on the World Wide Web.

Thesis (Ph. D.)--University of Chicago, Dept. of South Asian Languages and Civilizations, June 2001. / Includes bibliographical references. Also available on the Internet.

Thesis (Ph. D.)--UCLA, 2009. / Vita. Description based on print version record. Includes bibliographical references (leaves 266-281).

Thesis (Ph. D.)--University of Texas at Austin, 2009. / Title from PDF title page (University of Texas Digital Repository, viewed on July 30, 2009). Vita. Includes bibliographical references.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1990. / Includes vita. Includes bibliographical references (leaves 281-289).

In 1999, Austin-based Rude Mechanicals theatre ensemble created Grrl Action, an autobiographical writing and performance program for teenage girls, one of many advocacy and empowerment programs focused on female youth nationwide. Still today, Austin-area girls come together each summer to generate original performances based on their own life experiences. Their final collaborative production, which combines solo work with group pieces and covers topics as disparate as body image and illegal immigration, illuminates the ways that girls perform different, multiple, and shifting identities, both collectively and individually. This dissertation posits Grrl Action--part of a more general trend towards collective autobiography in girls' cultural production--as an ideal lens through which to examine the complexity of teenage girls' identity performance(s) in the United States today. I situate Grrl Action as an embodied site where girls deliberately play with (and among) multiple selves onstage and, in effect, challenge commercial constructions of female adolescence and expand the very definition of girlhood. As a former Program Director and Instructor for Grrl Action, I build on what Dwight Conquergood might call my role as ethnographic "co-performer" to examine not only live theatre events, but also the material circumstances that create them. My introduction provides an overview of identity performance discourse outside of theatre settings and posits my study of Grrl Action as a means of borrowing back the language of performativity for girls exploring their identities in theatrical settings. Chapter One focuses on girls' performances of non-normative sexuality to examine how Grrl Action might be considered a new kind of feminist theatre collective. Chapter Two looks at girls' I- and you-statements to analyze the ways that female youth cast both themselves and their audiences in nuanced "definitional ceremonies." Chapter Three centers on girls' tears and traumatic testimony to situate Grrl Action as a site of affective transference between girl-performers and women-spectators. My conclusion is self-reflexive, as I suggest ways that women who work with girls might put their own identity performances on the line both inside and outside programs like Grrl Action. / text

Thesis (Ph. D.)--University of Texas at Austin, 2004. / Supervisor: Charlotte Canning. Vita. Includes bibliographical references. Also available from UMI.

Este trabalho versa sobre a organização, análise e historicização da memória das Mal-Amadas através dos experimentos cênicos antipatriarcais praticados ao longo de vinte e seis anos. Esse grupo de teatro feminista foi criado para responder com arte ao sofrimento e à dor de mulheres em atendimento na Casa Beth Lobo, uma política pública de apoio à mulher em situação de violência doméstica. O estudo atende a uma perspectiva feminista e de gênero com olhar especial para o feminismo radical e os seus pressupostos, partindo de uma reflexão sobre a natureza e a origem da opressão das mulheres. Está organizado com Introdução, Memória, Poética do Desmonte I (1992-1999) - período que diz respeito à relação institucional com a Prefeitura de Diadema - e Poética do Desmonte II (2012-2018) - quando estabelece uma parceria com o CIM - Centro Informação Mulher, organização feminista do movimento de mulheres. Nesta pesquisa foram relatados desde o funcionamento do grupo à nomeação dos procedimentos que deram origem às criações de peças teatrais, peça-jogo, performance, desagravos, apartes, instalações e interpelações, indicando as etapas do processo, bem como apontando as práticas de repertório e arquivais, uma concepção de Diana Taylor (Estudos da Performance). O épico-performativo é um modo híbrido que orienta a produção das Mal-Amadas desde a sua origem. O intuito deste estudo, portanto, é confirmar a validade da Poética do Desmonte, teatralidade das Mal-Amadas na construção de um Teatro Feminista de viés libertário em defesa da vida das mulheres. / This work deals with the organization, analysis, and historicization of the Mal-Amadas memory through the scenic antipatriarchal experiments practiced during twenty-six years. This feminist theater group was created to respond with art to the suffering and pain of women in attendance at Casa Beth Lobo, a public policy to support women in situations of domestic violence. The study responds to a feminist and gender perspective with a special look at radical feminism and its presuppositions, starting from a reflection on the nature and origin of women\'s oppression. It was organized from an Introduction, Memory, \"Poetics of Desmonte I\" (from 1992 to 1999), which relates to the institutional relationship with the City Hall of Diadema and \"Poética do Desmonte II\" (from 2012 to 2018), when it establishes a partnership with the CIM - Women Information Center, a feminist organization of the women\'s movement. In this study, it was reported from the group \'s operation to the naming of the procedures that gave origin to the creations of theatrical pieces, play - game, performance, reparations,dramatic speeches, installations and interpellations, indicating the stages of the process, as well as pointing out the \"repertoire practices and archival\", a conception of Diana Taylor (Performance Studies). The epic - performative is a hybrid mode, which guides the production of \"mal-amadas\" from its origin. The purpose of this study, therefore, is to contextualize, justify, to confirm the validity of the Poetics of Dismantling, the theatricality of the \"mal -amadas\' in the construction of a Feminist libertarian theater in defense of women\'s lives.

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