In the first comprehensive study of plays written for male characters only, Robert Vorlicky offers a new theory that links cultural codes governing gender and the conventions determining dramatic form. Act Like a Manlooks at a range of plays, including those by O'Neill, Albee, Mamet, Baraka, and Rabe as well as new works by Philip Kan Gotanda, Alonzo Lamont, and Robin Swados, to examine how dialogue within these works reflects the social codes of male behavior and inhibits individualization among men.

Plays in which women are absent are often characterized by the location of a male "other"—a female presence who distances himself from the dominant, impersonal masculine ethos and thereby becomes a facilitator of personal communication. The potential authority of this figure is so powerful that its presence becomes the primary determinant of the quality of men's interaction and of the range of male subjectivities possible. This formulation becomes the basis of an alternative theory of American dramatic construction, one that challenges traditional dramaturgical notions of realism.

The book will appeal to scholars and students interested in drama, gender, race, sexuality, and American culture, as well as playwrights, teachers of playwrights, and artistic directors. It includes an extensive bibliography of more than four hundred male-cast plays and monodramas, the first such compilation and one that points to further research into a previously unexplored area.

Speaking Our Selves brings together plays by women writers from the under-represented African countries of Tanzania, Mozambique, Ethiopia, Mali, Burundi, Benin, and Sudan, plus a play by award-winning Ugandan playwright and volume coeditor Asiimwe Kawe. Although the plays are united in presenting women as central figures who own their voices, they also represent a rich diversity of story-telling. Each unique dramaturgy is rooted in African forms of story-telling that occasionally—but not always—merge with recognizable Western forms to create hybrid, dramatic forms. These hybrid methods emphasize the striking ways in which African women writers continue to experiment with form, moving beyond Western-influenced dramaturgy if and when it jeopardizes an African dramaturgy of language, movement, and music, centered in African Cosmology.

The plays within Speaking Our Selves confront a range of ideas and issues, including women embracing the potential of agency in often contested subject positions; confronting their historical object positions in worlds of devastating patriarchal authority; resisting toxic masculinity and persistent, oppressive binaries of gender roles; finding power in communities of women; women’s increasing acumen in financial, business, and economic spheres; tensions between traditional religious tenets and efforts toward secularization; perpetual acts of violence toward women’s bodies; and the rise of mental health issues among girls and women. Readers and audiences are challenged not to be passive witnesses by observing from safe vantage points, but rather to be active participants in the stories being told.