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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).
This book explores the comedy and legacy of women working as performers on the music-hall stage from 1880–1920, and examines the significance of their previously overlooked contributions to British comic traditions. Focusing on the under-researched female ‘serio-comic’, the study includes six micro-histories detailing the acts of Ada Lundberg, Bessie Bellwood, Maidie Scott, Vesta Victoria, Marie Lloyd and Nellie Wallace. Uniquely for women in the late-nineteenth and early-twentieth centuries, these pioneering performers had public voices. The extent to which their comedy challenged Victorian and Edwardian perceptions of women is revealed through explorations of how they connected with popular audiences while also avoiding censorship. Their use of techniques such as comic irony and stereotyping, self-deprecation, and comic innuendo are considered alongside the work of contemporary stand-up comedians and performance artists including Bridget Christie, Bryony Kimmings, Sara Pascoe, Shazia Mirza and Sarah Silverman.
The events of September 11, 2001 compelled playwrights of Arab or Arab American background to adjust their narratives and to include discourses which interpreted as well as challenged misconceptions surrounding their own culture. Political incidents such as 9/11 produced a shared response from Arab American playwrights wherein women playwrights recognized a need and a responsibility to adequately represent their own personal stories, bodies, and histories through performance. I address the visibility, responsibilities, and historical contributions of Arab American women playwrights and performers post-2001. I explore how the theatrical works of playwright and performer Betty Shamieh, playwright and solo performer Heather Raffo, and stand-up comedian Maysoon Zayid reclaim and reconstruct the cultural and historical interpretations of Arab American women. Shamieh writes plays that contain historical and political themes in order to expose assumptions about Palestinian women. Raffo uses solo performance to relay social, political, and cultural issues representative of Iraqi women. Zayid explores stand-up comedy to address her Palestinian identity as well as her experiences living with cerebral palsy. All of these forms of performance essentially create and serve as pivotal foundations of the Arab American theatre movement. I argue that Shamieh, Raffo, and Zayid dramatize, renegotiate, and challenge reductive historical narratives of the Arab American woman and the representation of her body in post-9/11 politics.
Through candid personal interviews with Lucille Ball, Carol Burnett, and other visionary performers, Queens of Comedy explores how comediennes have redefined the roles of women in not only the entertainment business, but society as a whole. Detailing both their public and private lives - as well as their many and varied performances - Queen of Comedy examines the impact these women have had on the predominantly male-oriented world of comedy. Performers like Carol Burnett, Joan Rivers, and their more recent counterparts, comediennes Brett Butler and Roseanne, have helped to sift women's roles in comedy from object to subject. This book maps out this shift, providing an often brutally honest picture of women's lives in both the spotlight of comedy and this modern world.
Covering over 100 years of history, this volume profiles almost 70 women comedians ending with such present-day figures as Whoopi Goldberg.
"Extreme Exposure: An Anthology of Solo Performance Texts from the Twentieth Century, edited by director Jo Bonney, features the work of 42 solo artists spanning the century-from Beatrice Herford in 1869 to Dawn Akemi Saito in 1994. Each artists' work is introduced by a journalist, artist, critic, agent, producer or educator who is intimately familiar with the material and its links to other forms such as vaudeville, theatre, cabaret, music, standup comedy, poetry, the visual arts and dance. In Bonney's words, This anthology documents a part of our literary/stage history and offers the possibility of its being appreciated in a new context, for a new generation."--Google Books viewed June 23, 2021.