Puitika Teater Perempuan: Menggugat Tragedi Kekerasan Aristoteles Melalui Bahasa Feminin.

Yudiaryani, - Puitika Teater Perempuan: Menggugat Tragedi Kekerasan Aristoteles Melalui Bahasa Feminin. Documentation. ISI Yogyakarta, Yogyakarta.

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Abstract

The beginning of the Western tradition of theatre is traditionally dated from the Athenian festival, rites, and ceremonies of Dionysos in the sixth and fifth centuries BC. When the festivals became a theatre, women disappeared from the ceremonies. The reason was not only from the spesific political and theatrical developments, but also in the cultural codes of Athens. According to the codes, the rights of women to own property were severely restricted. Even the family caused the removal of women from the public life. For example, marriage meant “loan”. Women were loaned to their husbands by their fathers, and in the case of divorce, women were returned to their fathers. The Athenian performance practice created a gender principle which elevated a classic status. Classis had a meaning economic and legal priveleges of the first class. Women were denied from the class. The value of a patriarchat society were embedded in this gender practice of the period. Boal, who examined Aristoteles’s Poetics, said that the classic was a coercive system. In considering that potrayal, the contemporary feminist theorists, critics, historians, and artists began to construct new models and methodologies that would accomodate the presence of women on the stage. That new poetics deconstructs the classical system of women. The contemporary feminists artists reach a conclusion that the form of Performance Art could be an alternative way to create a women’s language. The language is feminine, immediately contact, elliptical, fragmentary, ambigous, and interrupted.

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