years, has worked in the service of a body of dramatic literature that has routinely minimized or distorted the lives of women, people of color, gay men, and lesbians. The book’s contributors see directing not as an ideologically neutral set of skills, but as something that has served historically to preserve existing forms of authority.   What happens, then, when a feminist who directs for the theater decides that there is something called a feminist director, someone who sees her job as protesting and intervening in the existing system of representation? The contributors to this volume provide a wide range of answers, in original essays that disrupt traditional approaches of directing by showing how feminist theory might be applied in practice.   Essays and interviews by a wide variety of directors, scholars, and other theater specialists offer fresh new models for thinking about directing. The collection includes essays on African-American theater, feminist “classics,” and male directors working on feminist plays, as well as concrete suggestions for directing a variety of plays, from works by Shakespeare and Euripides to those by Caryl Churchill, Aishah Rahman, and Helene Cixous. The theoretical material, drawing from a wide range of contemporary critics and theorists, has been written with the director in mind, partly for the purpose of analyzing texts but also for inspiring creative directorial and design solutions.  

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