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Manager, critic, producer, playwright (and actress): female keyfigures in building modern European theatreDr. Ruth SchorFinal assignment:The subject remains within the course syllabus, namely female key figures who tookon important roles in building modern European theatre.Your topic can be about the specific key figures we investigated during the coursethough it is equally permissible to write about a figure that falls within the courseframe but who we devoted less attention to.While our course focused on the role of the actress-manager, critics or playwrightsare also included in this category. In the context of this course, ‘modern’ refers to theperiod between the late nineteenth and early twentieth century oftentimes identifiedas ‘modernity’ or ‘modernism’. In accordance with the exercises we did in class, youcan shape your analysis and research question on your own. For example (and theseare just examples!), you can compare different figures, analyse their ‘influence’,focus on a particular aspect of their work or use them as a case study to question howthe role of gender can be accounted for in theatre history.Details about the final assignment as stated in the syllabus:The final paper can be written either in Hebrew or in English.Length: 1000 WordsLength: 1000 WordsFont: Times New Roman, 12, double-space——–Opening LineFollow-up Line:Explanation: What I mean by that is….Detail: In particular….Twist:And yet….Nonetheless….However…..Getting to introduce your structure:In the following paper, I would like to explore…..I argue that….Addition:In addition…Furthermore…On the other hand….Paradoxically……ConclusionIn conclusion….Finally…..To conclude….—————i have suggestion but not sure if its good recearch question: : How did woman’s success in late nineteenth century Europe influence our society today?———-The syllabus of the course is about:Manager, critic, producer, playwright (and actress): female key figures in building modern European theatreThe advent of modern theatre history is often told through famous playwrights such as Anton Chekhov, Oscar Wilde or Henrik Ibsen. And yet, oftentimes, a focus on these names blurs the essential contribution of theatre entrepreneurs, translators, actors or critics to the plays? reception and thus, their indispensable part in creating what is now recognised as the canon of modern theatre. Furthermore, the fact that many of these key players were women has largely remained unnoticed. Figures such as Sarah Bernhardt, Eleonora Duse, Vera Komissarzhevskaya or Janet Achurch may be known for their attributes as famous actresses or their memorable character performances but lesser attention is devoted to their contributions as theatre managers, producers, critics, playwrights or their imprint on modern acting techniques. This course aims to provide this missing link and focus on the respective female key players in the making of modern European theatre
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