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Drawing on Michel Foucault's concept of gaze, Luce Irigaray's term 'speculum,' and other feminist ideas, this essay examines the female constructed by patriarchal logic and women's struggle for subjectivity in Maria Irene Fornes's Fefu and Her Friends and The Conduct of Life. Gendered identity formed according to socio-cultural circumstances situates women in the gaze of the male which reflects patriarchal order. Female characters' responses to male gaze are diverse, but they all intend to destabilize the dominant order and to rebuild their selves not as objects but as subjects.
Julia in Fefu and Her Friends and Nena in The Conduct of Life appear as victims embodying their submission to the male authority through physical and psychological numbness or weakness. But while Julia intentionally submits to patriarchal power, she covertly keeps her desire for transgression. Comparably, Fefu actively participates in masculine activities and incorporates masculine identity for the purpose of avoiding the predicaments resulting from gendered identity. But her masculine strategy to overthrow the male gaze does not turn out to be effective. Although Leticia, Olimpia, and Nena, as women in The Conduct of Life, share common socio-cultural limitation, they belong to different social positions. They are not able to bond with each other transcending their class boundaries. However, Nena and Leticia acquire sympathy and encouragement from Olimpia and Mona respectively. Due to limited women's bonding, they are able to articulate themselves or to defy the authority.
The last part of both plays is seemingly simple, with definite tactics to end women's oppression. In a strict sense, however, the masculine mode Fefu and Leticia utilize replicates a patriarchal logic depending on violence. At this point, education's effects on transformational potentiality, which is highlighted during the plays, needs to be viewed from feminist perspectives. Women characters and the audience are urged to shape their identities anew according to performance on stage in Fefu and Her Friends; a young character, Nena, is asked to learn to be an 'actor' instead of a passive recipient in The Conduct of Life. Through the learning process, the plays attempt to influence the change of power structure.
Julia in Fefu and Her Friends and Nena in The Conduct of Life appear as victims embodying their submission to the male authority through physical and psychological numbness or weakness. But while Julia intentionally submits to patriarchal power, she covertly keeps her desire for transgression. Comparably, Fefu actively participates in masculine activities and incorporates masculine identity for the purpose of avoiding the predicaments resulting from gendered identity. But her masculine strategy to overthrow the male gaze does not turn out to be effective. Although Leticia, Olimpia, and Nena, as women in The Conduct of Life, share common socio-cultural limitation, they belong to different social positions. They are not able to bond with each other transcending their class boundaries. However, Nena and Leticia acquire sympathy and encouragement from Olimpia and Mona respectively. Due to limited women's bonding, they are able to articulate themselves or to defy the authority.
The last part of both plays is seemingly simple, with definite tactics to end women's oppression. In a strict sense, however, the masculine mode Fefu and Leticia utilize replicates a patriarchal logic depending on violence. At this point, education's effects on transformational potentiality, which is highlighted during the plays, needs to be viewed from feminist perspectives. Women characters and the audience are urged to shape their identities anew according to performance on stage in Fefu and Her Friends; a young character, Nena, is asked to learn to be an 'actor' instead of a passive recipient in The Conduct of Life. Through the learning process, the plays attempt to influence the change of power structure.
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