ABSTRACT
In Chapter 5 we examined ways of challenging the canon through feminist performance. We noted that not only does a feminist approach to theatre require that we study and perform canonical texts differently, or rather, deconstructively as resistant performers, but that it is also necessary to look beyond the canon to that which history and theatre history has marginalised. The aim of this chapter is to concentrate on the ‘margins’ where so much of women’s work has been ‘lost’ to view and recovered through feminist research. Note that the concerns of these two chapters are by no means discrete: the margins are created through the making of the canon. The reader may find it useful, therefore, to cross-reference theory and practice in these two chapters, and to try out practical suggestions in this chapter on canonical texts, and vice versa.
