ABSTRACT
In a European context the representation of Woman as ‘Other’ than Man, as introduced in the previous chapter, has dominated French feminist theory. The three key exponents of this field are Hélène Cixous, Luce Irigaray, and Julia Kristeva. This chapter will outline the main concepts which have been ‘borrowed’ by feminist theatre studies from ‘écriture feminine’ (‘writing said to be feminine’), suggest why they have been important to feminist theatre, and how they have been taken up in critical practice (for an extended example of this, see the case study of Deborah Levy’s Heresies, Chapter 9, pp. 124-7).
