Hildegard Klein was Senior Lecturer in the English Literature Section of the Department of English, German and French, University of Málaga, until her recent retirement.
She holds a BA in English Philology (University of Malaga) and a PhD (University of Granada). Her PhD thesis focused on the didactic component of the theatre of Edward Bond. She has published widely on different aspects of Bond’s work in national and international journals. Beyond Bond, she has worked on playwrights such as Michael Frayn and, particularly, on British feminist theatre.
She is co-editor of Teorías feministas y sus aplicaciones al teatro feminista británico contemporáneo (Granada: Comares, 2000), and editor of Estrategias feministas en el teatro británico del siglo XX (Málaga: Atenea, Vol. 41, Universidad de Málaga, 2003). She has also researched the drama of a totally unknown early 20th-century German author, Frieda H. Kraze. Since 2000, as a result of an ongoing collaboration with the Romanian University of Timisoara, she has published an article on British feminist drama and in-yer-face theatre in the journal Gender Studies every year. She is co-editor of British Theatre of the 1990s: Interviews with Directors, Playwrights, Critics and Academics (Basingstoke and New York: Palgrave Macmillan, 2007). She was a member of “British Theatre of the 1990s”, a three-year research project funded by the Spanish Ministry of Science and Education (BFF2002-00257), and of “The Representation of Politics and the Politics of Representation in post-1990 British Theatre”, a three-year research project funded by the Spanish Ministry of Science and Innovation (FF12009-07598/FILO).
Contemporary British Theatre
2013: “Federico García Lorca’s Yerma (1937) and Ruth Carter’s A Yearning (1999): Oppression of Women through Space and Time”, Gender Studies 12: 1, pp. 230-45.
2013: “Other Britains in Black British Drama”, Postcolonial Studies Association Newsletter, Special Issue: Other Britains, 11/Spring, pp. 15-16.
2012 “Trauma Drama: Victims’ Traumatic Memories in Kay Adshead’s The Bogus Woman (2001) and Timberlake Wertenbaker’s Credible Witness (2001)”, Gender Studies 12: 1, pp. 62-73.
2012: “Lilies on the Land: The Forgotten Women’s Land Army of World War II. A Documentary Play”, Gender Studies 1: 11, pp. 189-199.
2011: “Mark Ravenhill’s Plays: Woman’s Nourishing Role in a Barren Homosexual World”, Gender Studies 1: 10, pp. 163-73.
2010: “Harper Regan – A Female Protagonist’s Flight from Personal Catastrophe: Her Voyage of Discovery and Return to Redemption”. Gender Studies 1: 9, pp. 125-35.
2009: “Matricide: Violating the Sacred Mother-Daughter Bond in The Beauty Queen of Leenane”, Gender Studies 1: 8, pp. 139-49.
2008: “Rebellious Women Figures in Edward Bond’s Theatre Challenging Patriarchy”, Gender Studies 1: 7, pp. 207-17.
2007: co-editor with Mireia Aragay, Enric Monforte and Pilar Zozaya, British Theatre of the 1990s: Interviews with Directors, Playwrights, Critics and Academics. Basingstoke and New York: Palgrave Macmillan.
2007: “La objetivación del cuerpo femenino dentro del sistema de representación masculina: Masterpieces de Sarah Daniels”, Cuerpo de mujeres: miradas, representaciones e identidades. Eds. Ana Mª Muñoz Muñoz, Carmen Gregorio Gil and Adelina Sánchez Espinosa. Feminae 24, Granada: Universidad de Granada, pp. 171-84.
2006: “La nueva estética en la escena londinense al final del milenio: un teatro experimental y provocador”, De habitaciones propias y otros espacios conquistados: mujeres y literatura en lengua inglesa. Eds. Margarita Carretero González, Mª Elena Rodríguez Martín and Gerardo Rodriguez Salas. Granada: Universidad de Granada, pp. 171-84.
2006: “Girl Power in the British Theatre of the Nineties: Violent Disoriented Girl Gangs Kick Traditional Ideas of Femininity”, Gender Studies 1: 5, pp. 189-200.
2005: “Perpetrators and Victims in British Controversial In-Yer-Face Drama of the 1990s”, Gender Studies 1: 4, pp. 157-70.
2004: “Mother/Daughter Relationship in British Feminist Drama from a Psychoanalytical Perspective”, Gender Studies 1: 3, pp. 147-61.
2003: editor, Estrategias feministas en el teatro británico del siglo XX. Málaga: Servicio de Publicaciones de la Universidad de Málaga.
2003: “Violence, Silence and the Power of Language in Edward Bond’s The Woman and Timberlake Wertenbaker’s The Love of the Nightingale: Transformation of Greek Myths for Our Time”, Gender Studies 1: 2, pp. 19-32.
2002: “Why Must a Man Have Only One Woman?: The Entanglement of an Artist in a Triangular Relationship”, Gender Studies 1: 1, pp. 73-80.
2000: “Certainty/Uncertainty and the Notion of Time in Michael Frayn’s Copenhagen”, Studii di Limbi si Literaturi Moderne, pp. 269-79.
2000: with Blanca López Román, Teorías feministas y sus aplicaciones al teatro feminista británico contemporáneo. Granada: Comares.
1997: “Greek Myths Deconstructed in Edward Bond’s The Woman”, Enciclopedia del Teatro. Instituto Europeo de Investigación Teatral. CD-Rom.
1995: “Violence in the Theatre of Edward Bond”, In-Between 4: 2, pp. 163-79.
1995: “Edward Bond: An Interview”, Modern Drama 38: 3, pp. 408-15.
1994: “La enseñanza de la interpretación de una escena de las obras de Edward Bond como paradigma de su teatro”, Teatro 5, pp. 133-39.
1991: “Edward Bond’s Use of Sociolects in his Dramatic Work”, Atlantis 14: 1-2, pp. 93-101.
1989: “Human Cannon – An Epic History Play by Edward Bond”, Anejos de Analecta Malacitana 6, pp. 81-91.
1989: “Edward Bond: «Lear was standing in my path…» – Lear’s Progressive Journey from Blindness to Moral Insight and Action”, Atlantis 11: 1-2, pp. 71-8.
Other
2000: “Frieda H. Kraze’s Erfüllungen (Fulfilment): A Play of Today for Tomorrow”, Women, The First World War and the Dramatic Imagination, International Essays (1914-1999). Ed. Claire M. Tylee, Lampeter: Mellen Press, pp. 23-38.
2000: “Erfüllungen von Friede H. Kraze: Ein Stück von heute für morgen”, Friede H. Kraze, Von Husum nach Weimar Leben and Werk. Eds. Arno Bammé y Jürgen Dietrich. Munich and Viena: Profil Verlag, pp. 171-188.
2000: “George III: A Tragic Hero?”, a paper given at XVII International Conference of the Spanish Association of Angloamerican Studies (AEDEAN). Published in: Proceedings of the XVII International Conference of AEDEAN. Departamento de Filoloxía Inglesa, Francesa e Alemana, Universidad de Vigo, pp. 189-92.
1999: “Heroínas femeninas en la resistencia: la Guerra de la Independencia y la Guerra Civil Española – Agustina de Aragón y Agustina de Estarobon”, Pensamiento, Imagen, Identidad: A la Búsqueda de la Definición de Género. Ed. Mª J. Jiménez Tomé. Málaga: Universidad de Málaga, Atenea, pp. 298-319.
1998: “Friede H. Kraze’s Play Erfüllungen (Fulfilment): A Play of Today for Tomorrow”, Institut für Interdisziplinäre Forschung und Fortbildung der Universitäten Innsbruck, Heft 20, Klagenfurt, Wien, pp. 1-18.
1998: “Stanley Spencer, a Male Artist Enthralled by a Grasping Lesbian Painter”, a paper given at 2nd conference “Lesbos from Sapo (600 B.C.)” to the “3rd millennium, homosexuality in mythology, religions and plays of various eras”. Published in: Conference Proceedings. Ed. Lia Karavia. Athens, pp. 67-74.
1997: “Gatsby and the Lost Generation“, In-Between 6: 1, pp. 49-58.
1997: “Notes on Post-modernism and two Post-modern plays”, a paper given at XVIII International Conference of the Spanish Association of Angloamerican Studies (AEDEAN). Published in: Proceedings of the XVIII International Conference of AEDEAN. Servicio de publicaciones, Universidad de Alcalá de Henares, pp. 647-54.
1996: “Historical Retrospection: Dramatic Myths of Women in the Rural Plays of García Lorca”, a paper given at the international conference “The Imaging of Women in Myth and History”. Published in: Proceedings of the Conference. Ed. Hema Raghavan. Gargi College, Delhi, pp. 61-72.
1996: “Artaud and the English ‘theatre of cruelty’”, a paper given at XIV International Conference of the Spanish Association of Angloamerican Studies (AEDEAN). Published in: Proceedings of the XIV International Conference of AEDEAN. Bilbao: Servicio editorial, Universidad del País Vasco, pp. 259-65.
1991: “A-a-america”, a paper given at XIII International Conference of the Spanish Association of Angloamerican Studies (AEDEAN). Published in: Proceedings of the XIII International Conference of AEDEAN. Barcelona: PPU, pp. 231-4
1988: “The Dramatist Can Help to Create a New Theatre by the Way He Writes”, a paper given at XII International Conference of the Spanish Association of Angloamerican Studies (AEDEAN). Published in: Proceedings of the XII International Conference of AEDEAN. Departamento de Filología Inglesa, Universidad de Alicante, pp. 325-30.
Contemporary British Theatre
2013: “Federico García Lorca’s Yerma (1937) and Ruth Carter’s A Yearning (1999): Oppression of Women through Space and Time”, paper presented at the XXIII Conference on British and American Studies, Timisoara, 16-18 May.
2012: “Black British Drama: Defining the Multiracial-Multicultural British Hybrid Identity”, paper presented at the 11th Conference of the European Society for the Study of English (ESSE), Bogazici University, Istanbul, 4-8 September.
2012: “Performing the Victims’ Disturbing Memories in Kay Adshead’s The Bogus Woman and Timberlake Wertenbaker’s Credible Witness“, paper presented at the XXII Conference on British and American Studies, Timisoara, 17-19 May.
2011: coordination of the round table “The Politics of Re-reading/Rewriting in Contemporary British Theatre”, XXXV International Conference of the Spanish Association of Angloamerican Studies (AEDEAN), Universitat Autònoma de Barcelona, 17 November.
2011: “Lilies on the Land – The Forgotten Women’s Land Army of World War II – a documentary play”, paper presented at the 21st Conference on British and American Studies, Timisoara, 19 May.
2010: “The Nourishing Function of Women in the Barren Homosexual World in Mark Ravenhill’s plays”, paper presented at the 20th Conference on British and American Studies, Timisoara, 20 May.
2010: “Joe Penhall’s London Crisis Drama: From Urban Alienation, Social Marginality and Isolation to Schizophrenia”, paper presented at the conference “Contemporary British Theatre: Towards a New Canon”, School of English, Birmingham City University, 16 October.
2009: “Harper Regan: A Female Protagonist’s Flight from Personal Catastrophe, her Voyage of Discovery and Return to Redemption”, paper presented at the 19th Conference on British and American Studies, Timisoara, 21 May.
2008: “Matricide Violating the Sacred Mother-Daughter Bond in The Beauty Queen of Leenane”, paper presented at the 18th Conference on British and American Studies, Timisoara, 22 May.
2007: “Rebellious Women Figures in Edward Bond’s Theatre Challenging Patriarchy”, paper presented at the 17th Conference on British and American Studies, Timisoara, 17 May.
2005: “Girl Power in the British Theatre of the Nineties: Violent Disoriented Girl Gangs Kick Traditional Ideas of Femininity”, paper presented at the 15th Conference on British and American Studies, Timisoara, 19 May.
2004: “Perpetrators and Victims in British Controversial In-Yer-Face Drama of the 1990s”, paper presented at the 14th Conference on British and American Studies, Timisoara, 13 May.
2004: “Masterpieces by Sarah Daniels: Women as Objects in the Male Gaze”, paper presented at the “Simposio ‘Cuerpo de Mujer: Miradas, Representaciones e Identidades’”, Instituto de Estudios de la Mujer, Granada, 20-21 September.
2003: “Mother/Daughter Relationship in British Feminist Drama”, paper presented at the 13th Conference on British and American Studies, Timisoara, 15 May.
2002: “Violence, Silence and the Power of Language in Edward Bond’s The Woman and Timberlake Wertenbaker’s The Love of the Nightingale: Transformation of Greek Myths for Our Time”, paper presented at the 12th Conference on British and American Studies, Timisoara, 17 May.
2001: “Why Must a Man Have Only One Woman?: The Entanglement of an Artist in a Triangular Relationship”, paper presented at the 11th Conference on British and American Studies, Timisoara, 17 May.
2000: “Certainty/Uncertainty and the Notion of Time in Michael Frayn’s Copenhagen”, paper presented at the 10th Conference on British and American Studies, Timisoara, 18 May.
Contemporary British Theatre
2010: José Francisco Subiri, “Análisis de las obras dramáticas de Mark Ravenhill: Teatro politico versus teatro queer”.
2002: Encarnación Fuentes Nieblas, “Análisis de Personajes Históricos, Artísticos y Míticos en la Obra de Pam Gems”.