XIX a. pabaigos – XX a. pradžios Lietuvių moterų teatro sąjūdis: moters reprezentacijos autentika ir stereotipai

LTStraipsnio tikslas – remiantis feministinės teatro metodologijos įrankiais, permąstyti XIX a. pab. – XX a. pr. „lietuviškųjų vakarų“ sąjūdžio reikšmę: išskirti jame moterų teatro teritoriją ir išanalizuoti jos savitumą / nesavitumą – sceninės moters reprezentacijos diskursą organizavusių tradicinės (mylinčios, namų, šeimos) ir modernios (viešos, veiklios, aktyvios) moters įvaizdžių raiškoje atsispindinčią „moteriško balso“ autentikos ir jos neutralizacijos pastangų ambivalenciją, kurioje, paradoksaliai derėdamos, slypėjo ir feministinio lietuvių sąjūdžio, ir ne feministinio lietuvių teatro užuominos. [Iš leidinio]Reikšminiai žodžiai: Feminizmas; Lietuviškieji vakarai; Lietuvos teatro istorija, lyčių tyrimai, dramaturgija, teatras; Moterų teatras; Nacionalinis sąjūdis; Naujoji moteris; Tradicinė moteris; Vyrai; Feminism; Lithuanian evenings; Lithuanian theatre history, gender studies, dramaturgy, theatre; Men; National movement; New woman; Traditional woman; Women theatre.

ENThe beginning of the Lithuanian theatre history was in a way a practise of liberal feminism politics: encouraged (even forced in some cases) by men, women started to enter the theatre arena as playwrights, as well as organizers / directors of a theatre event and, later, as theatre critics. Women theatre art manifested itself as a clearly ambiguous one: it both drew upon and resisted to what was suggested by men as kind of prescription of possible theatre genres, thematics, stories and heroes / heroines. This ambiguity shaped the representation of a traditional woman (where women playwrights followed and also attempted to break the limits of the humble, de-tempered, de-sexualised heroine idealised by men) as well as of a “new woman” (where women playwrights attempted to focus on the subject of an educated woman and her public career, but soon, submitting to men, acknowledged it as a threat to her femininity and started to dwell on the image of her happy domesticity). However, in the second decade of the 20th century, in the wake of the run of theatre institutionalization processes, women began to lose their position in theatre; they started to write for the utopic women theatre. [From the publication]