Ellen Ecker Dolgin. Shaw and the Actresses Franchise League: Staging Equality. Jefferson, NC: McFarland, 2015. Pp. x + 243. $55.00. Ellen Ecker Dolgin's Shaw and the Actresses Franchise League: Staging Equality makes a lively and valuable contribution to feminist theatre studies. The book traces the course from stasis to motion in women's theatrical roles and their everyday lives in the late nineteenth and early twentieth centuries. Its scope is broader than its title might suggest: while Shaw and the Actresses Franchise League do feature prominently in the book, they serve as two key nodes in an expansive network of associations among playwrights, practitioners, theatre venues, and feminist activists extending from Britain across the Atlantic. Discussions of plays include well-known works by Ibsen, Wilde, Pinero, and Granville Barker, as well as little-known plays by women including Clothilde Graves's The Mother of Three (1896), Edith Lyttleton's Warp and Woof (1904), Cicely Hamilton's Just to Get Married (1910), and Charlotte Perkins Gilman's suffrage play Something to Vote For (1911). The network encompasses the pioneering work of actress-managers such as Lena Ashwell; actress-activists such as Ellen Terry and Elizabeth Robins; feminist theatre groups such as Edith Craig's Pioneer Players; and small theatre venues such as the Vendrenne-Barker seasons at the Royal Court in London (1904-7) and the socially conscious theatre at Jane Addams's Hull House in Chicago. It also extends to performances of earlier works that influenced the representation of women on stage in the period, such as Racine's Phedre and Alexandre Dumas fils's Camille in the nineteenth century or Shakespeare's Ophelia and Euripides's Electra at the turn of the twentieth century. The opening chapters introduce the main narrative the book seeks to explore: the trajectory from Victorian pictorial drama to the more mobile, expansive, even iconoclastic roles for women characteristic of feminist theatre in the early twentieth century. The first chapter, "Getting Past the Tableaux," lays the groundwork by noting the proliferation of images of women frozen in "beautiful stasis" (20) in nineteenth-century public and private performances through the popularity of tableaux vivants, "attitudes," melodramatic tableaux, and figures such as Galatea and Hermione. Dolgin finds in the tableaux vivants the seeds of change: though the female figures in these private productions were generally still and silent, the characters they played--heroic, rebellious, historically important--opened up a wide range of empowering possibilities for women. The next chapters chart the evolution from stasis to motion in a variety of forms, on stage and off, from early productions of Ibsen's A Doll's House in which audiences could watch Nora transform from "worshipful doll to disillusioned, empowered individual" (34); to the development of small, non-commercial theatres like the Royal Court that could take risks performing new plays with unconventional female roles; to the creation of suffrage plays and pageants, which constituted a more direct challenge to "static Victorian assumptions about family life, onstage as well as at home" (132). Dolgin sees the Actresses Franchise League as playing a central role in fostering a new direction in theatre in the 1910s that contributed to the rise of women's participation in public culture. The final chapter turns to a grimmer form of disruption of stasis with the experience of the First World War. Though this chapter sits somewhat uncomfortably with the more triumphant narrative that precedes it, it does include an interesting discussion of Edna St. Vincent Millay's Aria da Capo (1919) and Shaw's Heartbreak House (which premiered in New York in 1920) as modern instances of commedia dell'arte and ends with a compelling discussion of Shaw's Saint Joan, whose protagonist's brashness and iconoclasm seem more in keeping with the book's trajectory than the rest of the chapter does. …

中文翻译：

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肖和女演员特许经营联盟：埃伦·埃克·多尔金（Ellen Ecker Dolgin）的平等舞台

艾伦·埃克·多金。肖和女演员特许经营联盟：上演平等。北卡罗来纳州杰斐逊：麦克法兰，2015 年。Pp。x + 243。55.00 美元。艾伦·埃克·多尔金 (Ellen Ecker Dolgin) 的《肖和女演员特许经营联盟：舞台平等》对女权主义戏剧研究做出了生动而宝贵的贡献。这本书追溯了 19 世纪末和 20 世纪初女性戏剧角色及其日常生活中从停滞到运动的过程。它的范围比它的标题所暗示的要广泛：虽然肖和女演员特许经营联盟确实在书中占有突出地位，但它们是英国剧作家、从业者、剧院场地和女权主义活动家之间广泛的协会网络中的两个关键节点横跨大西洋。戏剧讨论包括易卜生、王尔德、皮尼罗和格兰维尔巴克的著名作品，以及鲜为人知的女性戏剧，包括克洛蒂尔德·格雷夫斯的《三个孩子的母亲》（1896 年）、伊迪丝·利特尔顿的《经纬》（1904 年）、西西莉·汉密尔顿的《刚要结婚》（1910 年）和夏洛特·珀金斯·吉尔曼的选举权戏剧《某事投票》 1911）。该网络涵盖了莉娜·阿什维尔 (Lena Ashwell) 等女演员经理的开创性工作；女演员活动家，如艾伦·特里和伊丽莎白·罗宾斯；女权主义剧团，如伊迪丝·克雷格的先锋剧团；和小型剧院场地，例如伦敦皇家法院的 Vendrenne-Barker 季节（1904-7 年）和芝加哥简·亚当斯 (Jane Addams) 赫尔之家 (Hull House) 的具有社会意识的剧院。它还扩展到影响该时期女性在舞台上表现的早期作品的表演，例如拉辛的《费德》和大仲马的《菲尔斯》。s 十九世纪的卡米尔或二十世纪之交的莎士比亚的奥菲莉亚和欧里庇得斯的厄勒克特拉。开篇章节介绍了本书试图探索的主要叙事：从维多利亚时代的绘画戏剧到二十世纪早期女权主义戏剧所特有的更具流动性、更广阔、甚至打破传统的女性角色的轨迹。第一章“越过舞台”奠定了基础，指出了在 19 世纪的公共和私人表演中，女性形象被冻结在“美丽的停滞”（20）中，通过舞台活力、“态度”、戏剧性的画面，以及诸如 Galatea 和 Hermione 之类的人物。Dolgin 在画面中发现了变革的种子：尽管这些私人作品中的女性形象通常保持沉默，但她们所扮演的角色——英雄、叛逆、具有历史意义——为女性开启了广泛的赋权可能性。接下来的几章描绘了从舞台上和场下各种形式的静止到运动的演变，从易卜生的《玩偶之家》的早期作品开始，观众可以看到诺拉从“崇拜的娃娃变成幻灭的、被赋予权力的个体”（34）；发展像皇家法院这样的小型非商业剧院，可以冒险以非常规的女性角色表演新剧；选举权戏剧和选美比赛的创作，这对“维多利亚时代关于家庭生活、舞台和家庭生活的静态假设”构成了更直接的挑战（132）。多尔金认为，女演员特许经营联盟在 1910 年代推动戏剧新方向的发展中发挥了核心作用，这有助于女性参与公共文化的兴起。最后一章讲述了随着第一次世界大战的经历，破坏停滞的更严峻形式。尽管这一章与之前的更胜一筹的叙述有点不舒服，但它确实包括对埃德娜·圣文森特·米莱的《咏叹调》（1919 年）和肖的《心碎之屋》（1920 年在纽约首映）作为现代例子的有趣讨论。喜剧喜剧，并以对肖的圣女贞德的引人入胜的讨论结束，与本章的其余部分相比，主角的鲁莽和反传统似乎更符合本书的发展轨迹。… s 参与公共文化。最后一章讲述了第一次世界大战的经历，以一种更严峻的形式打破停滞。尽管这一章与之前的更胜一筹的叙述有点不舒服，但它确实包括对埃德娜·圣文森特·米莱的《咏叹调》（1919 年）和肖的《心碎之屋》（1920 年在纽约首映）作为现代例子的有趣讨论。喜剧喜剧，并以对肖的圣女贞德的引人入胜的讨论结束，与本章的其余部分相比，主角的鲁莽和反传统似乎更符合本书的发展轨迹。… s 参与公共文化。最后一章讲述了第一次世界大战的经历，以一种更严峻的形式打破停滞。尽管这一章与之前的更胜一筹的叙述有点不舒服，但它确实包括对埃德娜·圣文森特·米莱的《咏叹调》（1919 年）和肖的《心碎之屋》（1920 年在纽约首映）作为现代例子的有趣讨论。喜剧喜剧，并以对肖的圣女贞德的引人入胜的讨论结束，与本章的其余部分相比，主角的鲁莽和反传统似乎更符合本书的发展轨迹。… 尽管这一章与之前的更胜一筹的叙述有点不舒服，但它确实包括对埃德娜·圣文森特·米莱的《咏叹调》（1919 年）和肖的《心碎之屋》（1920 年在纽约首映）作为现代例子的有趣讨论。喜剧喜剧，并以对肖的圣女贞德的引人入胜的讨论结束，与本章的其余部分相比，主角的鲁莽和反传统似乎更符合本书的发展轨迹。… 尽管这一章与之前的更胜一筹的叙述有点不舒服，但它确实包括对埃德娜·圣文森特·米莱的《咏叹调》（1919 年）和肖的《心碎之屋》（1920 年在纽约首映）作为现代例子的有趣讨论。喜剧喜剧，并以对肖的圣女贞德的引人入胜的讨论结束，与本章的其余部分相比，主角的鲁莽和反传统似乎更符合本书的发展轨迹。… 与本章的其余部分相比，这种鲁莽和反传统似乎更符合本书的发展轨迹。… 与本章的其余部分相比，这种鲁莽和反传统似乎更符合本书的发展轨迹。…