{"id":503,"date":"2014-10-07T16:15:05","date_gmt":"2014-10-07T15:15:05","guid":{"rendered":"http:\/\/insight.lancaster.ac.uk\/dev\/?p=503"},"modified":"2014-11-26T16:58:23","modified_gmt":"2014-11-26T16:58:23","slug":"parodying-blurred-lines-in-the-feminist-blogosphere-for-the-contemporary-theatre-review-website-launch","status":"publish","type":"post","link":"http:\/\/insight.lancaster.ac.uk\/?p=503","title":{"rendered":"Parodying \u201cBlurred Lines\u201d in the Feminist Blogosphere"},"content":{"rendered":"<p><a href=\"http:\/\/insight.lancaster.ac.uk\/dev\/wp-content\/uploads\/2014\/10\/parody-blurred-lines.jpg.jpeg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-504\" src=\"http:\/\/insight.lancaster.ac.uk\/dev\/wp-content\/uploads\/2014\/10\/parody-blurred-lines.jpg.jpeg\" alt=\"parody blurred lines.jpg\" width=\"500\" height=\"281\" srcset=\"http:\/\/insight.lancaster.ac.uk\/wp-content\/uploads\/2014\/10\/parody-blurred-lines.jpg.jpeg 500w, http:\/\/insight.lancaster.ac.uk\/wp-content\/uploads\/2014\/10\/parody-blurred-lines.jpg-332x186.jpeg 332w, http:\/\/insight.lancaster.ac.uk\/wp-content\/uploads\/2014\/10\/parody-blurred-lines.jpg-300x168.jpeg 300w\" sizes=\"auto, (max-width: 500px) 100vw, 500px\"><\/a><\/p>\n<p>After nearly two decades of the (apparent) cultural dominance of a&nbsp;highly conservative and divisive \u2018postfeminist sensibility\u2019 in the US and the UK, the starting point for my <em>Contemporary Theatre Review<\/em> article, \u2018Post- Postfeminism? Amelia Bullmore\u2019s <em>Di and Viv and Rose<\/em>, April de Angelis\u2019s <em>Jumpy<\/em> and Karin Young\u2019s <em>The Awkward Squad<\/em>\u2019, was signs of a&nbsp;resurgence of feminist activism in general as reflected through a&nbsp;revival of interest in exploring feminist issues within the theatre in particular.<\/p>\n<p>Since I&nbsp;researched this essay evidence for this revival has continued to mount; in the UK, the past year has seen, amongst others, events such as the \u2018<a href=\"http:\/\/www.cptheatre.co.uk\/festival\/Calm_down__dear.php\">Calm Down, Dear\u2019 Feminist Theatre Festival<\/a> at Camden People\u2019s Theatre (2013); touring productions such as The Ugly Sister\u2019s <em>Rash Dash<\/em> (2013), Victoria Melody\u2019s <em>Major Tom <\/em>(2013), and Bryony Kimmings\u2019 <em>Credible Likeable Superstar Role Model<\/em> (2013\u22124); and new works such as Abi Morgan\u2019s <em>The Mistress Contract<\/em> at the Royal Court (2014), Gina Gionfriddo\u2019s <em>Rapture, Blister, Burn<\/em> at the Hampstead Theatre (2014), and Nick Payne and Carrie Cracknell\u2019s <em>Blurred Lines<\/em> at the National Theatre\u2019s Shed (2014).<\/p>\n<p>Described as <em>\u2018<\/em>a blistering journey through contemporary gender politics\u2019, the National\u2019s website confirms that this latter show was \u2018inspired\u2019 by Robin Thicke\u2019s controversial single \u2018Blurred Lines\u2019. In fact, especially considering its publicity declares this show\u2019s interest in women\u2019s lives in relation to \u2018cyberspace\u2019, it is as likely to have been inspired by the responses to this song produced by what has been referred to as the \u2018feminist blogosphere\u2019, as by Thicke\u2019s original. Bearing this in mind, this article offers a&nbsp;brief (and inconclusive) overview of some of these responses, first placing them in context of \u2018cyberspace\u2019 as a&nbsp;venue for popular feminist performance.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>After nearly two decades of the (apparent) cultural dominance of a&nbsp;highly conservative and divisive \u2018postfeminist sensibility\u2019 in the US and the UK, the starting point for my Contemporary Theatre Review article, \u2018Post- Postfeminism? Amelia Bullmore\u2019s Di and Viv and Rose, April de Angelis\u2019s Jumpy and Karin Young\u2019s The Awkward Squad\u2019,&nbsp;\u2026<\/p>\n","protected":false},"author":14,"featured_media":585,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"image","meta":{"wp_typography_post_enhancements_disabled":false,"footnotes":""},"categories":[10],"tags":[],"coauthors":[39],"class_list":["post-503","post","type-post","status-publish","format-image","has-post-thumbnail","hentry","category-paper","post_format-post-format-image","column","twocol"],"_links":{"self":[{"href":"http:\/\/insight.lancaster.ac.uk\/index.php?rest_route=\/wp\/v2\/posts\/503","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/insight.lancaster.ac.uk\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/insight.lancaster.ac.uk\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/insight.lancaster.ac.uk\/index.php?rest_route=\/wp\/v2\/users\/14"}],"replies":[{"embeddable":true,"href":"http:\/\/insight.lancaster.ac.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=503"}],"version-history":[{"count":6,"href":"http:\/\/insight.lancaster.ac.uk\/index.php?rest_route=\/wp\/v2\/posts\/503\/revisions"}],"predecessor-version":[{"id":975,"href":"http:\/\/insight.lancaster.ac.uk\/index.php?rest_route=\/wp\/v2\/posts\/503\/revisions\/975"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/insight.lancaster.ac.uk\/index.php?rest_route=\/wp\/v2\/media\/585"}],"wp:attachment":[{"href":"http:\/\/insight.lancaster.ac.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=503"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/insight.lancaster.ac.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=503"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/insight.lancaster.ac.uk\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=503"},{"taxonomy":"author","embeddable":true,"href":"http:\/\/insight.lancaster.ac.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fcoauthors&post=503"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}