ABSTRACT
In 1981, Nancy S. Reinhardt reviewed the impact of feminism on American theatre studies since the rise of the women’s movement, and found that it was lagging behind other disciplines. While feminism had inspired new developments for nearly ten years in film studies, for instance, both a feminist theatre criticism and theatre history remained quite new. Theatre scholars were now importing models from other disciplines, such as semiology from film studies, a decade after its impact there. This was despite the development of a lively feminist theatre in the 1970s as part of the politics, as had been the case with Black Liberation in the 1960s (Reinhardt 1981: 25-6).
