| Abstrakt: |
In the present article, I will examine how topics of domestic work, care and family values were critically addressed by female performers in 2022 on various Hungarian stages. Two short analyses will show that the notion of womanhood is deconstructed through questioning superficial and populist images of traditional female roles. While Baby Bumm – Propinquity Effect , a community theatre production highlights the actual toll of becoming a mother, a one-woman-show titled God, Home, Kitchen detects the numerous and often contradicting roles assigned to an average Hungarian female citizen by politicians. Both productions build on the physical limits of the performers' bodies, the actual burden of taking care of children, as well as fulfilling duties in and outside the household, to show the unreal nature of politicized ideas on women. This is a public topic that further emerged in post-pandemic times, especially in the light of the government's determination of acceptable social participation for women. [ABSTRACT FROM AUTHOR] |
