Speculative Fiction Theatre (WisCon 31 panel): Difference between revisions
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Reading, Viewing, and Critiquing SF&F•623• Sunday, 2:30-3:45 p.m. | Reading, Viewing, and Critiquing SF&F•623• Sunday, 2:30-3:45 p.m. | ||
There’s a small but vocal group of theatre lovers in the speculative fiction community that wonders why the genre has consistently been ignoring the fertile ground of fantastic drama | There’s a small but vocal group of theatre lovers in the speculative fiction community that wonders why the genre has consistently been ignoring the fertile ground of fantastic drama — that is, staged dramas and written plays with speculative elements. Yet for many years, playwrights and artists like [[Caryl Churchill]] and [[Julie Taymor]] have quietly been earning prominent raves in the mainstream media for their original plays and adaptations of works with fantastical — and, often, feminist or politically radical — content. Let’s talk about particularly effective speculative fiction theatre, on the page and on the stage, that we’ve seen or read in the last year (or five years or ten years). What are the strengths and liabilities of the theatre medium that help these works achieve their particular stripe of weird and wonderfulness? | ||
Liz L. Gorinsky, Andrea D. Hairston, Reina Hardy, Wendy Alison Walker | [[Liz L. Gorinsky]], [[Andrea D. Hairston]], [[Reina Hardy]], [[Wendy Alison Walker]] | ||
[[Category:WisCon 31 panels]] | [[Category:WisCon 31 panels]] | ||
Latest revision as of 10:40, 30 May 2007
177 Speculative Fiction Theatre
Reading, Viewing, and Critiquing SF&F•623• Sunday, 2:30-3:45 p.m.
There’s a small but vocal group of theatre lovers in the speculative fiction community that wonders why the genre has consistently been ignoring the fertile ground of fantastic drama — that is, staged dramas and written plays with speculative elements. Yet for many years, playwrights and artists like Caryl Churchill and Julie Taymor have quietly been earning prominent raves in the mainstream media for their original plays and adaptations of works with fantastical — and, often, feminist or politically radical — content. Let’s talk about particularly effective speculative fiction theatre, on the page and on the stage, that we’ve seen or read in the last year (or five years or ten years). What are the strengths and liabilities of the theatre medium that help these works achieve their particular stripe of weird and wonderfulness?
Liz L. Gorinsky, Andrea D. Hairston, Reina Hardy, Wendy Alison Walker