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dc.contributor.authorSerrano González, Raquel
dc.contributor.authorMartínez-García, Laura
dc.date.accessioned2014-12-23T14:42:49Z
dc.date.available2014-12-23T14:42:49Z
dc.date.issued2014-11
dc.identifier.issn1641-4233
dc.identifier.otherDOI: 10.2478/ipcj-2014-0007
dc.identifier.urihttp://hdl.handle.net/11089/5986
dc.description.abstractDespite the shifting ideologies of gender of the seventeenth century, the arrival of the first actresses caused deep social anxiety: theatre gave women a voice to air grievances and to contest, through their own bodies, traditional gender roles. This paper studies two of the best-known actresses, Nell Gwyn and Anne Bracegirdle, and the different public personae they created to negotiate their presence in this all—male world. In spite of their differing strategies, both women gained fame and profit in the male—dominated theatrical marketplace, confirming them as the ultimate “gender benders,” who appropriated the male role of family’s supporter and bread-winner.pl_PL
dc.description.sponsorshipFICYT the research grant Severo Ochoa (BP 10-028)pl_PL
dc.language.isoenpl_PL
dc.publisherLodz University Presspl_PL
dc.relation.ispartofseries(16)2014;
dc.subjectActressespl_PL
dc.subjectRestorationpl_PL
dc.subjectBracegirdlepl_PL
dc.subjectGwynpl_PL
dc.subjectgender notionspl_PL
dc.subjectdeployment of alliancepl_PL
dc.subjectdeployment of sexualitypl_PL
dc.titleHow to Represent Female Identity on the Restoration Stage: Actresses (Self) Fashioningpl_PL
dc.typeArticlepl_PL
dc.page.number97–110pl_PL
dc.contributor.authorAffiliationUniversity of Oviedopl_PL
dc.identifier.eissn2300-8695
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dc.contributor.authorEmailserranoraquel@uniovi.espl_PL


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