Rewriting the single woman's narrative in two original scripts: A professional problem
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In certain therapeutic practices, it is believed that sharing narratives or life stories with those who will listen is vital to the development of a healthy sense of being. However, the societal held belief of individuals or groups often overrides real and truthful narratives. And once societal beliefs are formed, changing these perceptions can be a difficult endeavor. So it is with single women. They have long been written about and perceived by society as “less than,” bitter, angry, sad, immoral, or even too perfect or saintly. However, as a single woman, these are not the narratives I have experienced in my own life. This study is one that examines single women in contemporary stage works. I question the narratives present-day playwrights are perpetuating in regards to single women. I also compare these narratives to those that existed in the first half of the 1900s. My findings illustrate that in some cases, literary single women today have not outgrown their 1940s counterparts. Therefore, in an effort to establish a more favorable and accurate view of single women, I have written two plays with single female protagonists. The Calendar and Blood is Thicker Than Roswell both incorporate some of my experiences as a single woman. And both present modern, strong, single women I recognize, relate to, and understand.