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This work examines the dramatic changes in America women's comedy performance in the years 1955-1995.The study focuses on the standup of Phyllis Diller and Roseanne andon the character comedy of Lily Tomlin. As the historical arc of women's comedy unfolds, it outlines a change from the traditional vaudevillian style of standup, as represented by Diller (50s-70s), to a more satiric comedy represented by Tomlin (60s-80s) and Roseanne (80s-90s).
First Published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.
"This collection features seven solo performance scripts by black feminist performance artists from the past three decades. The scripts are accompanied by interviews with the artists and critical essays, as well as a DVD showcasing the performances."--Page 4 of cover.
This is the first in-depth examination of contemporary intercultural performance by women around the world. Contemporary feminist performance is explored in the contexts of current intercultural practices, theories and debates. Holledge and Tompkins provide ways of thinking about and analysing contemporary performance and representations of the performing, female, culturally-marked body. The book includes discussions of: * ritual performance by women from Central Australia and Korea * the cultural exchange of A Doll's House and Antigone * plays from Algeria, South Africa and Ghana * the work of the Takarazuka revue company * the market forces that govern the distribution of women and women's performance. This is an essential read for anyone studying or interested in women's performance.
Women in Performance: Repurposing Failure charts the renewed popularity of intersectional feminism, gender, race and identity politics in contemporary Western experimental theatre, comedy and performance through the featured artists’ ability to strategically repurpose failure. Failure has provided a popular frame through which to theorise recent avantgarde performance, even though the work rarely acknowledges stakes tend to be higher for women than men. This book analyses the imperative work of a number of female, non-binary and trans* practitioners who resist the postmodern doctrine of ‘post-identity’ and attempt to foster a sense of agency on stage. By using feminism as a critical lens, Gorman interrogates received ideas about performance failure and negotiates contradictions between contemporary white feminism, intersectional feminism, gender and sexuality. Women in Performance: Repurposing Failure reveals how performance has the power to both observe and reject contemporary feminist and postmodern theory, rendering this text an invaluable resource for theatre and performance studies students and those grappling with the disciplinary tensions between feminism, gender, queer and trans* studies.