Section outline

        • Prof. Marissa Fenley

          mfenley@brynmawr.edu

          Goodhart Hall 

          Office Hours: Wednesdays 1:30-4:30 (sign up here)

          "Fabulation, Erasure, and Distortion: Feminism on Stage"

          Tues/Thurs 4:10-5:30 PM

          Goodhart Hall, Classroom B

        • This course asks students to take up feminism (and its numerous intersections) as a method for theatrical presentation and composition, rather than merely a question of representation. We will not only interrogate the criteria by which a performance is deemed “feminist” but will also identify, analyze, and put into practice specific strategies and techniques for staging feminist questions and provocations onstage. Such techniques may range from erasure, to saturation, to fabulation, to distortion—a list that we will build upon as throughout our course. We will apply critical texts across feminist philosophy, critical race studies, and queer theory (including Simone de Beauvoir, Judith Butler, Iris Marion Young, and Audre Lorde among others) and analyze how these approaches to feminism are taken up by playwrights, performance artists, and dancers (including Caryl Churchill, Suzan-Lori Parks, Yoko Ono, and Narcissister among others).

          •      To develop a capacious understanding of “feminist dramaturgy” across theory and practice
          • To analyze key critical texts in feminist theory and philosophy and apply these methods when interpreting feminist performance 
          • To develop a writing-as-thinking practice alongside our theoretical and practical investigations
          • To identify core techniques for crafting feminist performance and put these core techniques into practice in a short, original, staging
          • To write an analytical paper that builds a conceptual bridge across feminist theory and practice
        • We will encounter texts and visual materials that touch on difficult topics—topics to which you all will have individual relationships and responses. This particular course will also read and view sexually explicit material. I will do my best to flag sensitive topics where I am able, but I will not be able to anticipate every instance where they might appear. I welcome you to share your personal orientations to these works and topics and use these as points of entry into the material, as is comfortable for you. We will also hold a certain intellectual distance from these topics—we will contextualize, historicize, and analyze their wider social, historical, and cultural impacts beyond the personal. I expect each of you to navigate this dance to the best of your ability and be thoughtful and gentle in your approaches.

        • I am deeply invested in the well-being of my students and if you come to me with non-course-related concerns, I will do my best to help. It is important for you to know that all faculty members are required to report any incidents of gender-based discrimination, including discrimination based on gender identity, gender expression, and sexual orientation. This means that I cannot keep confidential information about sexual misconduct, intimate partner violence, stalking, or other forms of gender-based discrimination.

          To contact confidential resources or make a report to The Office of Civil Rights and Title IX please follow this link

        • Bryn Mawr College is committed to providing equal access to students with a documented disability. Students needing academic accommodations for a disability must first speak with Access Services. Students can email accessservices@brynmawr.edu to request an appointment to begin this confidential process. If eligible for accommodations as per Access Services, students should schedule an appointment with the professor as early in the semester as possible to share their verification form and make appropriate arrangements. Please note that accommodations are not retroactive and require advance notice to implement. More information can be obtained at the Access Services website. Sourced from the Bryn Mawr College website.

          Additionally, if you have trouble accessing class resources or require accommodations, I welcome you to consult with me 1:1 on how to adapt the course to serve both you and the needs of the class. 

        • Attendance

          This class is heavily participatory and I cannot assess you progress through the material if you are not here. I do not officially "take" attendance; rather, I give you a participation score each day. If you are chronically absent, your participation grade will suffer (missing more than 1-2 days begins to have an outsized impact on your grade). However, things sporadically come up. If you need to miss class, you do not need to email me or tell me why you are missing class--take care of yourself. You are always encouraged to meet with me in office hours if you are falling behind. 

          Tardiness 

          I also expect you to arrive to class early, and be situated with notebooks out by the start of the class. We have much to do, so we start on time. 

        • Late Work

          Late work will be docked one point for every day beyond the due date. (ex: if an assignment is worth 10% of your grade, there are 10 points on offer. For every day late you will only have up to 9 pts, 8 pts etc. available).

          Extensions

          While I have a very strict late policy, I have a generous extension policy. So long as extensions are requested at least 24 hours in advance, I will grant you extra time. You do not need to tell me why you need it. However, late submission are likely to be returned late and this may impact your ability to complete future assignments. 

        • AI Policy 

          AI use, in any instance, is not permitted in the class. Every assignment is designed in order to provide you with the opportunity to engage with the material and develop your own thinking without corrosive interference. Violations of this policy will require in-person discussion and evaluation with me.  

          These are some of the considerations behind this policy: 

          • This class is designed to improve your writing, thinking, and imaginative skills; if you’re not writing, thinking, or imagining, you’re not improving.
          • Using AI opens up academic honesty issues, both because it raises the question of whether the work is "your" work, and also because tools like ChatGPT rely on taking uncredited material from scholars and writers (see here
          •  Using AI does not produce reliably accurate results (see here, here, and  here).
          • ChatGPT has serious negative environmental impacts. For instance, ChatGPT uses 7-10 times more energy than a Google search (see here), uses about one 16 oz water bottle for every 5-50 queries to cool its data centers (see here) and the C02 emissions for training a single large learning model are equal 125 round-trip flights between New York and Beijing (see here). 
          • AI is also putting massive strain on the energy grid (see here) and data centers are disproportionately built in poor and rural communities who are already the inheritors of environmental racism and classism (see here, here, and here)
          • OpenAI and other AI companies have exploited workers from the global south, especially workers in prisons and refugee camps, and workers in Kenya, the Philippines, Colombia, and elsewhere (see here, here, here, herehere, and here)
          • AI companies are actively destroying knowledge archives and historical materials in order to consume, and ultimately degrade, language and discourse (see here). 
          • A recent study from MIT (June 2025) found a significant drop in neural connectivity in ChatGPT users compared to those who used their brain only to complete writing assignments, suggesting there is a high cognitive cost to using LLMs (see here). 

          *this language is adapted from Olivia Stowell's AI policy

        • Technology Policy 

          No laptops, tablets, phones, or other digital readers are permitted while in this class or to read course materials at home except with explicit permission (which will be granted only in order to meet individual accessibility requirements). Recordings of productions will be available in Moodle and can be accessed on a device of your choosing out of class. All video materials will be projected in class and accessed collectively. 

          All in-class notes and commonplace entries must be written by hand. Papers and glossary entries can be typed and submitted through Moodle. 

        • Participation 

          When grading participation, I use a √ system, which allows me to take a holistic view of your participation grade at the end of the semester. I do not release these to you, but simply use these as a guide in my assessments; however, I share my rubric so you know how you are being evaluated. You are always welcome to meet with me at any point in the semester to discuss your participation grade. I grade to your strengths and I look for progress. No one is expected to get all √+s. Rather, I will want to see improvement in your participation grade as the semester progresses and key areas where you are excelling.

          Participation is divided equally into three parts: note cards, class discussions, and embodied exercises.

          Commonplace Books

          I require that you have a by-hand note taking practice (notebooks will be provided to you!). Each week you should copy out quotes from our readings and/or write up descriptions of scenes from our viewings (descriptive translation is an important component of writing on performance!). These should be headed with the work’s title, author/director, and page numbers or time-stamps. Below each of these, you should write out your preliminary reflections on these quotes and scenes. You should fit your quote/description + reflection on one notebook page and bring in 3-5 pages each day. You should additionally be taking notes in class on our discussions, headed with the day’s date. At home notes vs in class notes should be clearly distinguished. These notes will provide the preliminary thinking for your glossary entries. I will collect these periodically throughout the semester. 

          Rubric:

          0 You did not submit your commonplace book

          √- Your quotes/descriptions and in-class notes were partial and your responses did not engage with the material

          √ You provided 3-5 quotes each week, took substantial in-class notes, and engaged the material and sufficiently opened up an interesting dimensions of the text.

          √+ You provided 3-5 quotes each week, took robust in-class notes, and your responses engaged deeply and thoughtfully with the material and opened up nuanced explorations of a dimension of the text.

          Class Discussion

          We will spend a great deal of class discussing our texts and unpacking their meanings. You are expected to share your thoughts aloud, respond to the thoughts of your peers, ask unanswered questions etc. You are welcome to pull from your note cards during discussion and pose your question to the class. 

          A note on discussion: being “right” is not an expectation of this class. When analyzing texts, we often talk about “strength” of analysis, not “correctness.” The strengthening of your analytical muscles is what we are after here. A crucial part of this process is thinking aloud, offering speculations, posing thoughtful questions, and sometimes straying off the path. These are all things you will be rewarded for. If being “right” is a prerequisite for you to speak up in class, you will have a very difficult time this semester. It is infinitely more valuable to understand why your comment missed the mark than it is to hit the mark and not understand why.

          Rubric

          0 You were not in class.

          √- You did not speak in class and/or did not engage with the material.

          √ You spoke in class in ways that engaged with the material.

          √+ You spoke frequently in class and deeply engaged with the material and the responses of your peers.

          Embodied Exercises

          This class entails several embodied exercises where we will explore the dynamics in our texts on our feet. These exercises demand both presence and playfulness. Please come to class prepared to move, explore, and collaborate with openness. These exercises are places of discovery, not mastery. You will not be evaluated on your theatrical talents, but rather, your commitment to move through a given prompt and your attentiveness to what you discovered, encountered, and transformed in doing so. While this aspect of the class may feel unfamiliar and uncomfortable to many of you, I expect you to push yourselves from wherever you are starting from over the course of the class.

          Rubric

          0 You were not in class.

          √- You completed the embodied exercises but did not push yourself further than this.

          √ You committed to your embodied exercises and were sufficiently attendant to what you learned by doing them.

          √+ You were creative and imaginative in your embodied exercises and thoughtfully reflected on what you learned by doing them.

    • Please note that my classes are highly responsive to the students in them. This means that I may add or remove readings to fit the natural pacing and direction of the course as we go. These changes will be reflected in Moodle.  

    • Invited Dress: the ‘Porno’

      Miss Gender

      Icebox Project Space Gallery, 1400 N American St

      Tickets: https://phillyfringe.org/events/invited-dress-the-porno/