ABSTRACT
There are many different means of working toward the desired ‘end’ of the theatre text, whether written script or text for performance. Such aspects as financial backing, availability of space, and consideration of intended audience all play their parts in determining the ways in which any particular theatre group, playwright or director might choose to work. In the case of feminist theatre, factors such as time constraints (imposed by personal/domestic factors specific to women’s lives), limited availability of space and low budgets may also enter into the equation.1 The political nature of feminist theatre as genre often sets it apart from the mainstream, and thereby creates a certain set of working conditions, and a certain range of possible working methods. The position of feminist theatre, while similar in some ways to that of political or alternative theatre in general, is also distinct in its approaches to these working methods. Though there are no ‘feminist working practices’ which are completely unique to feminist theatre, there is an identifiable set of working methods which tends to be used in the making of feminist theatre. Some of these methods are explored in this chapter.
