Gay Gibson Cima
Biographic Data
| ID | 1709198 |
|---|---|
| NAME | Gay Gibson Cima |
| GIVEN NAMES | Gay Gibson |
| FAMILY NAME | Cima |
| SIGNATURE | CIMA G G |
| AFFILIATIONS | Georgetown University |
| VERIFIED | No |
| TOTAL WORKS | 13 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 13 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1983 |
| LATEST PUBLICATION YEAR | 2014 |
| H-INDEX | 0 |
Performing Anti-Slavery: Activist Women on Antebellum Stages
In Performing Anti-Slavery, Gay Gibson Cima reimagines the connection between the self and the other within activist performance, providing fascinating new insights into women's nineteenth-century reform efforts, revising the history of abolition, and illuminating an affective repertoire that haunts both present-day theatrical stages and anti-trafficking organizations. Cima argues that black and white American women in the nineteenth-century abol…
Drama, Theatre, and Identity in the American New Republic (review)
Reviewed by: Drama, Theatre, and Identity in the American New Republic Gay Gibson Cima Drama, Theatre, and Identity in the American New Republic. By Jeffrey H. Richards . Cambridge Studies in American Theatre and Drama Series, no. 22. Cambridge: Cambridge University Press, 2005; pp. 392. $85.00 cloth. In an impressive study, Jeffrey Richards demonstrates that early American stages were transatlantic sites that incorporated local concerns and inch…
Black and Unmarked: Phillis Wheatley, Mercy Otis Warren, and the Limits of Strategic Anonymity
If you visit The Washington Post web site, you may discover a trace of an unspoken rule governing black and white women "performance critics" during the eighteenth and much of the nineteenth century in the United States. This rule affected women reviewers and drama critics as well as women writing within the broader category of performance criticism, commenting on cultural performances of various kinds. 1 At the Post site, you may find a listing …
A Doll House: Based on the Play by Henrik Ibsen (review)
Women in the American Theatre: Actresses & Audiences, 1790-1870
Performing Women: Female Characters, Male Playwrights, and the Modern Stage
Drama, Metadrama, and Perception
Shifting Perspectives: Combining Shepard and Rauschenberg
King Lear
The Good Woman of Setzuan
Acting on the Cutting Edge: Pinter and the Syntax of Cinema
Discovering Signs: The Emergence of the Critical Actor in Ibsen
Buried Child
No prominent works on this page.
Discovering Signs: The Emergence of the Critical Actor in Ibsen
Buried Child
Acting on the Cutting Edge: Pinter and the Syntax of Cinema
King Lear
The Good Woman of Setzuan
Shifting Perspectives: Combining Shepard and Rauschenberg
Drama, Metadrama, and Perception
Women in the American Theatre: Actresses & Audiences, 1790-1870
Performing Women: Female Characters, Male Playwrights, and the Modern Stage
A Doll House: Based on the Play by Henrik Ibsen (review)
Black and Unmarked: Phillis Wheatley, Mercy Otis Warren, and the Limits of Strategic Anonymity
If you visit The Washington Post web site, you may discover a trace of an unspoken rule governing black and white women "performance critics" during the eighteenth and much of the nineteenth century in the United States. This rule affected women reviewers and drama critics as well as women writing within the broader category of performance criticism, commenting on cultural performances of various kinds. 1 At the Post site, you may find a listing …
Drama, Theatre, and Identity in the American New Republic (review)
Reviewed by: Drama, Theatre, and Identity in the American New Republic Gay Gibson Cima Drama, Theatre, and Identity in the American New Republic. By Jeffrey H. Richards . Cambridge Studies in American Theatre and Drama Series, no. 22. Cambridge: Cambridge University Press, 2005; pp. 392. $85.00 cloth. In an impressive study, Jeffrey Richards demonstrates that early American stages were transatlantic sites that incorporated local concerns and inch…
Performing Anti-Slavery: Activist Women on Antebellum Stages
In Performing Anti-Slavery, Gay Gibson Cima reimagines the connection between the self and the other within activist performance, providing fascinating new insights into women's nineteenth-century reform efforts, revising the history of abolition, and illuminating an affective repertoire that haunts both present-day theatrical stages and anti-trafficking organizations. Cima argues that black and white American women in the nineteenth-century abol…
Art (12 works) · Literature (6 works) · Aesthetics (5 works) · History (4 works) · Visual arts (4 works) · Cultural Studies and Interdisciplinary Research (3 works) · History (3 works) · Sociology (3 works) · Theater, Performance, and Music History (3 works) · Drama (2 works)