Gender and Contemporary Georgian Theater

Main Article Content

Ana Kvinikadze

Abstract

Gender studies are becoming increasingly important in the social sciences. As time went on, the meaning of the term “gender” changed. If previously it was only a grammatical category of sex since 1955 sexologist John Money has used it to distinguish between biological sex and social roles.


In the modern world, the “social sex” or gender of a person - the difference between a man and a woman not in a biological, but in a social way is becoming more and more relevant. In the Dictionary of Social Sciences, we read that since the 1970s, the notion of gender has been fi rmly established as matching the socially constructed diff erences between the sexes, which are historically and geographically variable and which people acquire in the process of socialization. Consequently, it has become increasingly clear that gender is not necessarily binary (female or male), that there are (or maybe) more than two genders in diff erent societies.


When and how was the socio-cultural phenomenon of sex reflected in the Georgian theatre? As we know, cultural change does not happen instantly and is preceded by several sociopolitical processes. In Georgia, gender has been perceived more or less as social science and a subject of analysis since the 1990s and that is when signifi cant political shifts in society begin. 


Since the research topic is quite large, in my report I would like to discuss the latest Georgian theatre in terms of gender and consider its role in establishing gender equality on the example of several performances.

Keywords:
Theater Gender Gender Equality Women's Rights Violence Against Women LGBTQ Rights Dramaturgy Georgian Theater A Doll's House Henrik Ibsen August Strindberg Miss Julie Sigmund Freud David Sakvarelidze Lasha Bugadze
Published: Dec 20, 2021

Article Details

Section
Theater Studies