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The Theater of Heiner Muller (review)

Some of the essays focus on less well-known figures. For example, Jeanne Moskal’s essay on Mariana Starke is a salutary reminder of how Starke’s position as a woman in theatre did not confer on her the cloak of protofeminist. Moskal sounds what is a key note for the book as a whole: that advocacy for a woman’s sex was subordinated to a range of other claims, among them class, nationalism, and religion. Jeffrey Cox makes a similar observation about Joanna Baillie, whose quiet leadership among women writers of her generation is thrown into uneasy contrast with her conservative politics where her native Scotland was concerned. Jane Moody’s probing essay on Inchbald and Anne Plumptre focuses on their translations of Kotzebue from the German and gives us an unexpected glimpse not only of the divergent underlying political convictions in both women, but also of how those played out in translation, censorship notwithstanding.