ABSTRACT
The shifting status of feminism, developments in theatre practice, and academic approaches to (women’s) theatre studies all tend to influence the development and reception of feminist theatres. The first part of this chapter examines some of the practical problems which theatres and individuals face, and some of the partial solutions which companies have employed in order to meet changing circumstances. The second part provides a brief summary of key points in previously articulated theories of feminist theatre, and concludes with an outline of an original theory. This developing theory draws upon and extends the work of the book as a whole in arguing for a flexible but critical approach to the study and making of different feminist theatres, by way of placing this study of British feminist theatre into the larger picture of women’s theatre and feminist practice in cross-cultural perspective(s).
