“SISTERS OF THE PEN”: RESTORING WOMEN TO EARLY MODERN THEATRE HISTORY PEDAGOGY AND PRACTICE by JESSICA KIM ROGERS A DISSERTATION Presented to the Department of Theatre Arts and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy December 2019 DISSERTATION APPROVAL PAGE Student: Jessica Kim Rogers Title: “Sisters of the Pen”: Restoring Women to Early Modern Theatre History Pedagogy and Practice This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the Department of Theatre Arts by: Dr. Michael Malek Najjar Chairperson Dr. John Schmor Core Member Dr. Theresa May Core Member Dr. Dianne Dugaw Institutional Representative and Dr. Kate Mondloch Interim Vice Provost and Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded December 2019 ii © 2019 Jessica Kim Rogers iii DISSERTATION ABSTRACT Jessica Kim Rogers Doctor of Philosophy Department of Theatre Arts December 2019 Title: “Sisters of the Pen”: Restoring Women to Early Modern Theatre History Pedagogy and Practice This dissertation looks at current theatre historiography in terms of pedagogy and performance practices on the topic of early modern (seventeenth century) female dramatists, via select dramatic works of Elizabeth Cary, Viscountess Falkland; Margaret Cavendish, Duchess of Newcastle; and Aphra Behn. As early modern feminists, Cary, Cavendish, Behn, writing in different eras of the seventeenth century, each impacted theatre historiography by providing their unique perspectives on the roles of women in their times. Each of these women have a substantial history of literary study extending back decades; however, current practices in the areas of theatre history and theatre production minimize or dismiss the dramatic contributions of these women, generally for reasons pertaining to gender, and as such, there has been considerable oversight in the theatrical field as a result. Additionally, this study looks at the social contexts of the seventeenth century and later as a means of addressing issues pertaining to early modern female authorship and why these women have been so neglected as dramatists according to genre. Furthermore, it identifies and examines some of the feminisms evident in their dramatic works, and how said feminisms can contribute to current discourse on theatre history pedagogy and performance. The objective of this study is to reiterate the necessity of revising current theatre pedagogical and performance canons to include these women iv as a means of further understanding their individual milieus by recontextualizing their work as part of, rather than separate from, theatre historiography and practice. In doing so, the hope is to continue advocacy for the importance of a more inclusive feminist theatre historiography and, subsequently the need for revisions to the dramatic canons. This dissertation includes previously published material. v CURRICULUM VITAE NAME OF AUTHOR: Jessica Kim Rogers GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon, Eugene University of Nebraska at Omaha, Omaha Connecticut College, New London DEGREES AWARDED: Doctor of Philosophy, Theatre Arts, 2019, University of Oregon Master of Arts, Arts Management, 2018, University of Oregon Master of Arts, English Literature, 2014, University of Nebraska at Omaha Graduate Certificate, Advanced Writing, 2013, University of Nebraska at Omaha Master of Arts, Theatre, 2011, University of Nebraska at Omaha Bachelor of Arts, English Literature, 1999, Connecticut College AREAS OF SPECIAL INTEREST: Restoration Comedy Diversity, Equity, and Inclusion in the Arts Commedia dell’Arte Feminism Theatre of the Oppressed Devising Dramatic Literature Arts Management PROFESSIONAL EXPERIENCE: Stagehand, IATSE, 2005 - Present Adjunct Instructor – English, Metropolitan Community College, 2013 - 2014 Courses: Fundamentals of College Writing, Composition I, Composition II Adjunct Instructor – Humanities, Omaha School of Massage of Herzing University, 2012 – 2014 Courses: Critical Thinking, Principles of Communication, Composition I, Speech, Customer Service vi Adjunct Instructor – Theatre & English, Iowa Western Community College, 2011 – 2013 Courses: Stagecraft, Scenic Painting, Basic Writing, Composition I, Stage & TV Lighting, Theatre History I, Intro to Theatre Directing/Dramaturgy Emperor of the Moon, Director, University of Oregon, 2017 Wonder If, Wonder Why, Devising Project Scribe, Dir. Dr. John Schmor, University of Oregon, 2016 The Comedy of Errors, Dramaturge, Dir. Joseph Gilg, University of Oregon, 2015 Shelterskelter XVIII, Director, Shelterbelt Theatre, 2013 Fanboy, by Jeremy Johnson Meet Sally, by Rhea Dowhower The Crucible, Dramaturge, Dir. Moira Mangiamelli, Iowa Western Community College, 2012 Stage Management Stage Management Workshops, University of Oregon, 2017 Wood Music, Site Coordinator, Dir. Elena Aroz, Great Plains Theatre Conference, 2014 Civilizing Lusby, Dir. D. Scott Glasser, Great Plains Theatre Conference, 2014 South Omaha Tapestry, Dir. Scott Working, Great Plains Theatre Conference, 2013 Young Negress Stepping Out of the River at Dawn, Dir. D. Scott Glasser, Great Plains Theatre Conference, 2013 Clybourne Park, Dir. M. Michele Phillips, SNAP! Productions, 2013 At the Vanishing Point, Dir. D. Scott Glasser, Great Plains Theatre Conference, 2012 A Walk in the Woods, Dir. D. Scott Glasser, Great Plains Theatre Conference, 2011 Design/Technical University of Oregon (Theoretical) Hedda Gabler, Set Design, 2016 Skutt Catholic High School, Dir. Mark J. Schnitzler Dracula, Set Design, 2015 A Midsummer Night’s Dream, Adaptation, 2015 Big Fish, Design Consultant, 2014 Metamorphoses (Zimmerman), Set Design, 2014 Laura, Set Design, 2013 Arabian Nights, Set Design, 2012 Oedipus Rex, Set Design, 2010 University of Nebraska Omaha (Theoretical) The Tempest, Set Design, 2011 vii Antigone, Set Design, 2010 Arsenic and Old Lace, Set Design, 2010 Production Coordinator (film), 2001 Maniacs: Field of Screams, 2009 Assistant Technical Director, The Nebraska Theatre Caravan, 2006 Assistant Technical Director, The Omaha Theatre Company, 2004 – 2006 Scene Shop Apprentice, The Walnut Street Theatre, 1999 - 2000 Performance Madame Ho, Madam Ho, Dir. Elena Aroz, Great Plains Theatre Conference, 2013 Christmas Eve, Avenue Q, Dir. Daena Schweiger, SNAP! Productions, 2012 Gertrude, 12 Ophelias, Dir. Dr. Cindy Melby-Phaneuf, University of Nebraska Omaha, 2011 Jackie/Poppa Woody, Heteronormativity, Dir. Julia Hinson, Great Plains Theatre Conference, 2010 GRANTS, AWARDS, AND HONORS: Howard L. Ramey Endowment for Theatre Arts, University of Oregon, 2019 SDC Foundation Observership, Stage Directors and Choreographers, 2017 – 2018 Howard L. Ramey Endowment for Theatre Arts, University of Oregon, 2017 A&AA Student Travel Assistance Scholarship, University of Oregon, 2017 Theatre Arts Alumni Scholarship, University of Oregon, 2015 – 2018 Graduate Teaching Fellowship, University of Oregon, 2014 – 2019 Research and Creative Activity Grant, University of Nebraska Omaha, 2011 PUBLICATIONS: Rogers, JK. “Betrayal/Not Falling: A Story in Footnotes.” The Citron Review (Fall 2019). Rogers, JK. “Mistakes I Have Made.” Nebraska's Emerging Writers: An Anthology, Z Press, 2018. Rogers, JK. “Sentimentalism and the Stage: Reading and the American Identity in Royall Tyler’s The Contrast.” Etudes 3.1 (2018). viii Rogers, JK. “Acquired Taste.” The 13th Floor Magazine (Spring 2015). Rogers, JK. “American Oz.” NonBinary Review (December 2014). Rogers, JK. “Comfortable Landscapes.” ConnotationPress.com (April 2014). Rogers, JK. “Between.” The Briar Cliff Review 26 (2014), 20 – 21. ix ACKNOWLEDGMENTS I wish to express my deepest and most sincere appreciation to Dr. Michael Malek Najjar and Dr. Dianne Dugaw for their assistance in the preparation and execution of this document, and to my entire committee for their unwavering support throughout this project. I would also like to acknowledge the Huntington Library in San Marino, CA as an exceptional repository of seventeenth century archival material, without access to which much of my research would not have been possible. In addition, special thanks are due to friends Kathleen Lawler Husted and Michelle “Mickey” Yeadon for their willingness to supply research aid and information in spite of great distances. Finally, I want to acknowledge the amazing contributions to this project made by the cast and crew of my 2017 University Theatre production of Aphra Behn’s farce, The Emperor of the Moon. They have provided more information and inspiration to this project than I can ever repay. This project was supported in part by scholarships funded through the University of Oregon Theatre Arts Department, the Howard L. Ramey Endowment for Theatre Arts, and the Arts Administration Master’s Degree Program. x To Tara and Marlowe for their excellent supervision and To my parents for never telling me that a degree in theatre is “useless” xi TABLE OF CONTENTS Chapter Page I. INTRODUCTION ......................................................................................................... 1 Notes to Introduction ...................................................................................... 21 II. THE OTHER 51%: RESTORING WOMEN TO THEATRE HISTORIOGRAPHY AND PEDAGOGY .......................................................................................................