FESTIVAL THEATRE | Feminist Shows
FEMINISM IS A FRINGE ISSUE Feminism is riding high at this year’s Festival. Gail Tolley looks at three contrasting shows that tackle headfi rst some big topics affecting society today
T here used to be a time when feminism had to be disguised or excused in order for it to be palatable to the general public. ‘I’m not a feminist, but . . . ’ became a phrase used by those who were feminists in all but name, and a reminder that the word still held more than a little stigma.
But in the last few years an increasing number of people appear to be engaging with feminist thinking. Numerous protests, enabled through social media, have received mainstream attention, and achieved results too. There was the bringing down of UniLad, the No More Page 3 petition (currently sitting at more than 100,000 signatures) and the Everyday Sexism project, to name a few. And at this year’s Fringe there are examples of several shows grappling with serious issues concerning gender, without an excuse in sight.
Nirbhaya, which translates as ‘fearless one’, was the name given to the woman who was raped and killed by a group of men in a savage attack on a bus in Delhi last December. The brutality of that crime resonated across the world and led to a wave of protests in India calling for an end to violence against women. Theatre director Yael Farber felt the impact of the event, even in her native South Africa. ‘There was something about that young woman’s rape and death that seemed to have broken through a lot of people’s defences,’ she says. ‘I’m quite tuned in to the subject matter but among the best of us you develop a particular kind of shell that you protect yourself with, against the statistics and the stories from around the world.’
After posting about the event on Facebook, Farber received a message from an actress based in Mumbai, the i rst step in what would lead to Farber travelling to India and spending several months creating
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Nirbhaya. Including testimonials from performers who have each experienced sexual violence, Farber hopes the show will contribute to a shift in contemporary culture.
‘When something like this happens to that young woman, people say we’re not going to be silenced any more. Then you do it, you get up on stage, you get up in front of 300 people a night and say “this happened to me”. Then you walk out of the theatre and someone is waiting to say “it happened to me too”.’ Farber returns to Edinburgh a year after the success of Mies Julie, her adaptation of Strindberg’s classic play, which received a hoard of i ve-star reviews. She had not initially intended to be back so soon but, given the nature of Nirbhaya, was keen to act while the possibility of change still hung in the air.
‘It can be brutalising to put something together very quickly because you have to all go out on a limb in many, many, many ways,’ she says, ‘but this time next year I don’t believe the zeitgeist will remain; already I can feel the tide of indifference building up.’ Radical feminist Andrea Dworkin, who died in 2005, spent decades fearlessly speaking out about violence against women. A provocative character, who was ridiculed just as much as she was admired, Dworkin was known for her uncompromising views on pornography.
In Ban This Filth! Scottish writer and performer Alan Bissett will bravely pitch himself against Dworkin in a show which looks at porn and feminism from a man’s perspective. As with Bissett’s previous shows – including last year’s Fringe success The Red Hourglass – Ban This Filth! is rooted in the writer’s life experience and required him to confront his own relationship to porn.
‘I thought if I’m honest about porn use, then that encourages people