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...... This confusion of identity, however, has been a hallmark of feminist drama even in its most concrete forms. It is, in fact, central to the issue of feminist theory (as well as many other branches of criticism dealing with marginalization and postcolonialism). Ibsens A Dolls House does not offer a clear judgment of its protagonist, Nora, and her decision to leave her family and make her own life. What the play does is highlight the difficulty and uncertainty of such a possibility for the female, and this uncertainty persists in feminist drama and literature
The issue of identity and the uncertainty of attaining it are also essential to modern drama as a whole, and not just to works with overtly or explicitly feminist themes. This is not to suggest that modern theatre has developed in tandem with feminist ideologies. As Fortier points out, like much materialist theory and unlike, for instance, much phenomenology and post-structuralism, feminine theory is directly and predominantly political. Its purpose is to struggle against the oppression of women as women (Fortier 108). This is in many ways a gross oversimplification of the aim and process of feminist drama, but Fortiers definition does have its merits.

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