The Avant-Garde Practices of Gwendolen Bishop

Gwendolen Bishop is a name that appears in the margins of my recent account of the English avant-garde theatre. Prior to that she barely made it even into the margins, and then often with some rather significant indecision as to how actually to spell her name. The aim of this essay is to retrieve her from the margins and bring her more centrally into view. In doing so I consciously weave together her arts practices and her personal life, for these are deeply connected. The making of an avantist culture in early twentieth-century England was done not simply by arts experiments but also by kinds of behavior that challenged dominant ideas. In our Western twenty-first century we note and make much of Edwardian behaviors that contested assumptions about gender and sexuality, but we should note, alongside that, some equally striking challenges to ideas about class. Both are apparent in the Bishop story, which I tell more or less as a biographical narrative. The danger when one recovers a person from the shadows is that, in trying to situate them among their contemporaries, one writes overmuch about those contemporaries, such that our person fades again into the mists. With our biographical focus fixed solidly on her we can, I hope, discover how Gwendolen Bishop made her very particular contribution to this exciting cultural period on the eve of modernism.