Visible Bodies in Churchill's Theatre
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Helene Cixous's "The Laugh of the Medusa," the controversial manifesto of l'6criture
feminine, opens forcefully: "I shall speak about women's writing: about what it will
do" (245). Revolutionary myth as much as practice, "feminine writing" celebrates the
libidinal multivalence of a woman's body and imagines a uniquely female writing
that disrupts, mimics, exceeds, and dismantles what is known in feminist discourse
as the patriarchal symbolic.3 Since the 1975/1976 publication of "Laugh of the Medusa,"
Cixous has been accused of ahistorical essentialism, of conceptualizing a female body-
scene that keeps off-stage political and material differences within and between
genders.4 For Caryl Churchill, who began writing professionally in the activist climate
feminine, opens forcefully: "I shall speak about women's writing: about what it will
do" (245). Revolutionary myth as much as practice, "feminine writing" celebrates the
libidinal multivalence of a woman's body and imagines a uniquely female writing
that disrupts, mimics, exceeds, and dismantles what is known in feminist discourse
as the patriarchal symbolic.3 Since the 1975/1976 publication of "Laugh of the Medusa,"
Cixous has been accused of ahistorical essentialism, of conceptualizing a female body-
scene that keeps off-stage political and material differences within and between
genders.4 For Caryl Churchill, who began writing professionally in the activist climate