NBC\u27s Tom Brokaw Returns to Dominican Campus

Brokaw, former Michigan Governor Jennifer Granholm, and authors Eve Ensler, Isabel Allende, Anne Lamott, and Robert Bellah, are headlining Dominican\u27s ILS Lecture Series this winter and spring

Gender and the Body Series 2005 - 2006

Gender and the Body Series, 2005-2006, speakers include: Eve Ensler, Ann Fausto-Sterling and Emily Martin

Spartan Daily, February 23, 2017

Volume 148, Issue 13https://scholarworks.sjsu.edu/spartan_daily_2017/1012/thumbnail.jp

Voces contra la desigualdad. El teatro testimonial de Emily Mann e Eve Ensler

En su trabajo sobre la historia del teatro documental del año 1999, Gary Fisher Dawson hablaba de tres grandes fases: el movimiento de la Nueva Objetividad en la Alemania de los años veinte, las propuestas del Federal Theatre Project en EE.UU. durante los treinta y el renacimiento del estilo con la versión de The Deputy dirigida por Piscator en los sesenta. En el cambio de siglo XX al XXI, varias dramaturgas norteamericanas han recogido el testigo de estos documentalistas, desarrollando lo que Emily Mann, inspirada por las tradiciones orales sudafricanas, ha llamado «teatro testimonial». Mann, junto con Eve Ensler, Anna Deavere Smith o Heather Raffo, cultiva una forma dramática basada en recuperar las voces silenciadas de la historia y en proporcionarles unos oídos atentos que escuchen sus experiencias y aprendan de ellas. Así, en Annulla Mann repasa los horrores de la Segunda Guerra Mundial desde un punto de vista feminista, y en Still Life coloca en el centro de un drama sobre la Guerra de Vietnam, enfrentadas a un veterano, a dos mujeres que nunca lucharon en el frente asiático, demostrando que el home front debe ser un concepto a tener en cuenta en la historiografía sobre los conflictos bélicos. Yendo un paso más allá, Eve Ensler elimina las voces masculinas de sus trabajos monologados sobre violencia, presentando historias plurales de mujeres muy distintas unidas por su condición femenina violentada. En este artículo se analiza una parte del teatro de ambas autoras desde la perspectiva de género para determinar la validez que las técnicas documentales y testimoniales pueden tener en un momento dominado por los medios de comunicación, la hiperrealidad y la (des)información

Transnational feminism and gender-based violence: Exploring the relationship between feminist theory and V-Day

This project explores the prevalence of gender-based violence around the globe, along with the ways in which women and groups are locally, nationally and globally collaborating to resist violence and provide opportunities for survivors to heal. Utilizing feminist theoretical approaches to understanding gender-based violence and cross-cultural organizing as a framework, I examine V-Day and the ways in which it has incorporated feminist practices, specfically transnational feminist practices, into its philosophy as well as its style of organizing and activism. Close attention is paid to understanding transnational feminism, intersectionality and diversity within feminisms, body-centered and empowerment approaches to healing trauma, as well as engaging men as allies in the movement. Finally, the paper explores the future of V-Day, suggesting more consistent integration of transnational and intersectional feminist analysis, taking a preventative, proactive approach to ending violence, and making space for more localized interpretations of The Vagina Monologues and thoughtfully engaging voices of dissent and debate within V-Day

“Cancer was an alchemist”: Eve Ensler’s Experiences of Vulnerability in In the Body of the World

This article analyzes Eve Ensler’s experiences of vulnerability as they are related in her 2013 memoir, In the Body of the World. While the book illustrates “traditional” or etymological vulnerability, resulting from trauma and cancer, it also exemplifies what American philosopher Erinn Gilson calls “epistemic vulnerability,” i.e. vulnerability not as weakness but as potential. As both illness and trauma narrative, Ensler’s memoir also offers an opportunity to question the dichotomy between disability and trauma studies

Voices against Inequality. Emily Mann´s and Eve Ensler´s Theatre of Testimony Resumen

En su trabajo sobre la historia del teatro documental del año 1999, Gary Fisher Dawson hablaba de tres grandes fases: el movimiento de la Nueva Objetividad en la Alemania de los años veinte, las propuestas del Federal Theatre Project en EE.UU. durante los treinta y el renacimiento del estilo con la versión de The Deputy dirigida por Piscator en los sesenta. En el cambio de siglo XX al XXI, varias dramaturgas norteamericanas han recogido el testigo de estos documentalistas, desarrollando lo que Emily Mann, inspirada por las tradiciones orales sudafricanas, ha llamado «teatro testimonial». Mann, junto con Eve Ensler, Anna Deavere Smith o Heather Raffo, cultiva una forma dramática basada en recuperar las voces silenciadas de la historia y en proporcionarles unos oídos atentos que escuchen sus experiencias y aprendan de ellas. Así, en Annulla Mann repasa los horrores de la Segunda Guerra Mundial desde un punto de vista feminista, y en Still Life coloca en el centro de un drama sobre la Guerra de Vietnam, enfrentadas a un veterano, a dos mujeres que nunca lucharon en el frente asiático, demostrando que el home front debe ser un concepto a tener en cuenta en la historiografía sobre los conflictos bélicos. Yendo un paso más allá, Eve Ensler elimina las voces masculinas de sus trabajos monologados sobre violencia, presentando historias plurales de mujeres muy distintas unidas por su condición femenina violentada. En este artículo se analiza una parte del teatro de ambas autoras desde la perspectiva de género para determinar la validez que las técnicas documentales y testimoniales pueden tener en un momento dominado por los medios de comunicación, la hiperrealidad y la (des)información.In his 1999 work about the history of Documentary Theatre, Gary Fisher Dawson wrote about three main phases: the New Objectivity Movement in 1920s Germany, the Federal Theatre Project in 1930s USA, and the revival of the style thanks to Piscator’s version of The Deputy in the 1960s. In the 20th-to-21st turn of the century, several North American female playwrights have become inheritors to these documentarians, developing what Emily Mann –inspired by South African oral traditions– has called «theatre of testimony». Together with Eve Ensler, Anna Deavere Smith or Heather Raffo, Mann cultivates a dramatic form based on recovering silenced voices from history, and on providing them with an attentive ear that will listen to their experiences and learn from them. Thus, in Annulla Mann revises World War II from a feminist point of view, and in Still Life she places centre stage, facing a veteran, two women who never fought in the Asian battlefield, proving that the «home front» is a concept that must be acknowledged in the construction of history about war. Going further, Eve Ensler eliminates the male voice from her monologues about violence, presenting stories of very different women united by their violated female condition. This article analizes part of the theatrical production of these two authors from a gender perspective to try and determine the validity that documentary and testimonial techniques may have in a time dominated by the mass media, hyper-reality and (mis)information

Communicating the experience of war: the "us" vs. "them" dialectic in Eve ensler's "Necessary Targets"

During the 1990s, the Ex -Yugoslavia was involved in a series of armed conflicts. The debate was opened about the need for an intervention on the part of the U.s. and the NATO. When the intervention finally carne, the damage to the civil population had already been done: raped women, dead men and children, displaced people. American Playwright Eve Ensler visited a refugee camp in Bosnia in 1993. What she saw and experienced there she put on stage in Necessary Targets, a play where the protagonists un-learn the concepts of "us" and "them" and build a new community based on solidarity and respect

Spartan Daily, February 16, 2017

Volume 148, Issue 10https://scholarworks.sjsu.edu/spartan_daily_2017/1009/thumbnail.jp