|
Margolin, Deb
Overview
| Works: | 26
works in
42
publications in
1
language and
376
library holdings
|
| Roles: | Performer |
| Classifications: | ps3563.a648,
812.54 |
Most widely held works about
Deb Margolin
Most widely held works by
Deb Margolin
Of all the nerve : Deb Margolin, solo by Deb Margolin (
Book
)
6
editions published
in
1999
in
English
and held by
220
libraries
worldwide
Time is the mercy of eternity : a meditation in four acts by Deb Margolin (
Book
)
1
edition published
in
2007
in
English
and held by
52
libraries
worldwide
Act 1: A monologue from the perspective of a dead suicide bomber who now collects the newly dead suicide bombers to bring them to the afterlife.
970-DEBB(
visu
)
3
editions published
between
1995
and
2003
in
English
and held by
8
libraries
worldwide
Theatre piece.
Gestation(
visu
)
3
editions published
between
1991
and
2003
in
English
and held by
7
libraries
worldwide
"Everyone's favorite performance artist, just slightly more than a little bit pregnant, reflects on sleepless nights, the delivery room, the mystery of genetics and the world's oldest profession"--Container.
Of all the nerve(
visu
)
3
editions published
between
1989
and
2003
in
English
and held by
7
libraries
worldwide
Three seconds in the key : a drama by Deb Margolin (
Book
)
1
edition published
in
2005
in
English
and held by
7
libraries
worldwide
Carthieves! Joyrides(
visu
)
3
editions published
between
1995
and
2003
in
English
and held by
6
libraries
worldwide
Upwardly mobile home(
visu
)
4
editions published
between
1984
and
1986
in
English
and held by
4
libraries
worldwide
Since 1981, the Split Britches Company (founded by Lois Weaver, Peggy Shaw, and Deb Margolin, www.splitbritches.com) has written and performed in trio, duet, and solo, as well as collaborated and performed with other artists. They describe their work in this way: 'Our work is rooted in popular culture, but positioned against it. It relies on moments rather than plot, relationships rather than story. It depends on the surprise of transformation rather than the logic of psychological narrative. It straddles the line between performance and theater, exploiting theatricality while exposing the pretense. It is about a community of outsiders, queers, eccentrics. It is feminist because it encourages the imaginative potential in everyone and lesbian because it takes the presence of lesbian on stage as a given.' Their vaudevillian satirical gender-bending performances have received numerous awards, including a Jane Chamber award and four Village Voice OBIE awards. Their collection of scripts, Split Britches Feminist Performance/Lesbian Practice, edited by Sue Ellen Case, won the 1997 Lambda Literary Award for Drama. This video documents their show Upwardly Mobile Home. Originally produced at WOW Café on East 11th Street, New York City in 1984, this version is a revived performance at WOW Café on 4th Street in 1986. The piece is a working class survival story, where a troupe of actors camps out under the Brooklyn bridge and peddle their wares, trying unsuccessfully to sell out and be greedy like the rest of America in the 1980s.
Not performance art a selective documentary of performers and performance, New York City, 1987-1995(
visu
)
4
editions published
in
1995
in
English
and held by
4
libraries
worldwide
Documentary on performers and performance art in New York City. Including interviews and performance excerpts.
Beauty and the beast(
visu
)
3
editions published
between
1983
and
1986
in
English
and held by
3
libraries
worldwide
Since 1981, the Split Britches Company (founded by Lois Weaver, Peggy Shaw, and Deb Margolin, www.splitbritches.com) has written and performed in trio, duet, and solo, as well as collaborated and performed with other artists. They describe their work in this way: 'Our work is rooted in popular culture, but positioned against it. It relies on moments rather than plot, relationships rather than story. It depends on the surprise of transformation rather than the logic of psychological narrative. It straddles the line between performance and theater, exploiting theatricality while exposing the pretense. It is about a community of outsiders, queers, eccentrics. It is feminist because it encourages the imaginative potential in everyone and lesbian because it takes the presence of lesbian on stage as a given.' Their vaudevillian satirical gender-bending performances have received numerous awards, including a Jane Chamber award and four Village Voice OBIE awards. Their collection of scripts, Split Britches Feminist Performance/Lesbian Practice, edited by Sue Ellen Case, won the 1997 Lambda Literary Award for Drama. This video documents their show Beauty and the Beast'. Based on the classic fairy tale, influenced by the long rule of republican politics and informed by the Christian agenda that dominates the US scene up till the present, it is the personal journey of a Salvation Army woman who plays the good and beautiful daughter who secretly wants to be bad, a Rabbi in pink toe shoes who is relegated to the role of the father and longs to be a stand-up comic, and an 86-year-old lesbian vaudeville freak who embraces the role of the Beast and comments on politics by forgetting which play she is in.
Lesbians who kill(
visu
)
3
editions published
in
1994
in
English
and held by
3
libraries
worldwide
Since 1981, the Split Britches Company (founded by Lois Weaver, Peggy Shaw, and Deb Margolin, www.splitbritches.com) has written and performed in trio, duet, and solo, as well as collaborated and performed with other artists. They describe their work in this way: 'Our work is rooted in popular culture, but positioned against it. It relies on moments rather than plot, relationships rather than story. It depends on the surprise of transformation rather than the logic of psychological narrative. It straddles the line between performance and theater, exploiting theatricality while exposing the pretense. It is about a community of outsiders, queers, eccentrics. It is feminist because it encourages the imaginative potential in everyone and lesbian because it takes the presence of lesbian on stage as a given'. Their vaudevillian satirical gender-bending performances have received numerous awards, including a Jane Chamber award and four Village Voice OBIE awards. Their collection of scripts, 'Split Britches Feminist Performance/Lesbian Practice', edited by Sue Ellen Case, won the 1997 Lambda Literary Award for Drama. This video documents their show 'Lesbians Who Kill', written by Deb Margolin in collaboration with Peggy Shaw and Lois Weaver. Performed by Shaw and Weaver as characters May and June, a couple who go very 'wrong', the play looks at what might motivate women and lesbians in particular to become killers and serial ones at that.
Deb Margolin(
visu
)
4
editions published
in
1997
in
English
and held by
2
libraries
worldwide
This program provides an overview of Margolin's work and includes excerpts from one of her performance pieces. A segment from an interview with the performance artist is also featured.
Valley of the dolls house(
visu
)
1
edition published
in
1997
in
English
and held by
2
libraries
worldwide
Since 1981, the Split Britches Company (founded by Lois Weaver, Peggy Shaw, and Deb Margolin, www.splitbritches.com) has written and performed in trio, duet, and solo, as well as collaborated and performed with other artists. They describe their work in this way: 'Our work is rooted in popular culture, but positioned against it. It relies on moments rather than plot, relationships rather than story. It depends on the surprise of transformation rather than the logic of psychological narrative. It straddles the line between performance and theater, exploiting theatricality while exposing the pretense. It is about a community of outsiders, queers, eccentrics. It is feminist because it encourages the imaginative potential in everyone and lesbian because it takes the presence of lesbian on stage as a given.' Their vaudevillian satirical gender-bending performances have received numerous awards, including a Jane Chamber award and four Village Voice OBIE awards. Their collection of scripts, Split Britches Feminist Performance/Lesbian Practice, edited by Sue Ellen Case, won the 1997 Lambda Literary Award for Drama. This video documents their show Valley of the Dolls House, created in residency with 26 students from the University of Hawaii in 1997. Based on Henrik Ibsens A Doll's House and Jacqueline Susann's Valley of the Dolls, the piece is a celebration of difference and a critique of whiteness set in the uniquely multicultural city of Honolulu that is both besieged by and dependent on a tacky tourist trade.
Little women the tragedy(
visu
)
1
edition published
in
1998
in
English
and held by
2
libraries
worldwide
Since 1981, the Split Britches Company (founded by Lois Weaver, Peggy Shaw, and Deb Margolin, www.splitbritches.com) has written and performed in trio, duet, and solo, as well as collaborated and performed with other artists. They describe their work in this way: 'Our work is rooted in popular culture, but positioned against it. It relies on moments rather than plot, relationships rather than story. It depends on the surprise of transformation rather than the logic of psychological narrative. It straddles the line between performance and theater, exploiting theatricality while exposing the pretense. It is about a community of outsiders, queers, eccentrics. It is feminist because it encourages the imaginative potential in everyone and lesbian because it takes the presence of lesbian on stage as a given.' Their vaudevillian satirical gender-bending performances have received numerous awards, including a Jane Chamber award and four Village Voice OBIE awards. Their collection of scripts, Split Britches Feminist Performance/Lesbian Practice, edited by Sue Ellen Case, won the 1997 Lambda Literary Award for Drama. This video documents the world premiere of their show Little Women: The Tragedy. The piece tackles complex issues of pornography and feminism through the humor of only two possibilities: heaven or hell, preacher or prostitute, and the left hand and right hand of Louisa May Alcott.
Little women(
visu
)
1
edition published
in
1998
in
English
and held by
2
libraries
worldwide
Since 1981, the Split Britches Company (founded by Lois Weaver, Peggy Shaw, and Deb Margolin) has written and performed in trio, duet, and solo, as well as collaborated and performed with other artists. They describe their work in this way: 'Our work is rooted in popular culture, but positioned against it. It relies on moments rather than plot, relationships rather than story. It depends on the surprise of transformation rather than the logic of psychological narrative. It straddles the line between performance and theater, exploiting theatricality while exposing the pretense. It is about a community of outsiders, queers, eccentrics. It is feminist because it encourages the imaginative potential in everyone and lesbian because it takes the presence of lesbian on stage as a given.' Their vaudevillian satirical gender-bending performances have received numerous awards, including a Jane Chamber award and four Village Voice OBIE awards. This video documents the first version of their show Little Women: The Tragedy. Here performed as a work-in-progress, the piece tackles complex issues of pornography and feminism through the humor of only two possibilities: heaven or hell, preacher or prostitute, and the left hand and right hand of Louisa May Alcott.
Patience and Sarah(
visu
)
1
edition published
in
1987
in
English
and held by
2
libraries
worldwide
Since 1981, the Split Britches Company (founded by Lois Weaver, Peggy Shaw, and Deb Margolin, www.splitbritches.com) has written and performed in trio, duet, and solo, as well as collaborated and performed with other artists. They describe their work in this way: 'Our work is rooted in popular culture, but positioned against it. It relies on moments rather than plot, relationships rather than story. It depends on the surprise of transformation rather than the logic of psychological narrative. It straddles the line between performance and theater, exploiting theatricality while exposing the pretense. It is about a community of outsiders, queers, eccentrics. It is feminist because it encourages the imaginative potential in everyone and lesbian because it takes the presence of lesbian on stage as a given.' Their vaudevillian satirical gender-bending performances have received numerous awards, including a Jane Chamber award and four Village Voice OBIE awards. Their collection of scripts, Split Britches Feminist Performance/Lesbian Practice, edited by Sue Ellen Case, won the 1997 Lambda Literary Award for Drama. This video documents their show Patience and Sarah, an adaptation of the eponymous novel by Isabel Miller. The piece was adapted by Joyce Halliday and produced in the style of the Split Britches Company.
Split Britches(
visu
)
1
edition published
in
1984
in
English
and held by
2
libraries
worldwide
Since 1981, the Split Britches Company (founded by Lois Weaver, Peggy Shaw, and Deb Margolin, www.splitbritches.com) has written and performed in trio, duet, and solo, as well as collaborated and performed with other artists. They describe their work in this way: 'Our work is rooted in popular culture, but positioned against it. It relies on moments rather than plot, relationships rather than story. It depends on the surprise of transformation rather than the logic of psychological narrative. It straddles the line between performance and theater, exploiting theatricality while exposing the pretense. It is about a community of outsiders, queers, eccentrics. It is feminist because it encourages the imaginative potential in everyone and lesbian because it takes the presence of lesbian on stage as a given.' Their vaudevillian satirical gender-bending performances have received numerous awards, including a Jane Chamber award and four Village Voice OBIE awards. Their collection of scripts, Split Britches Feminist Performance/Lesbian Practice, edited by Sue Ellen Case, won the 1997 Lambda Literary Award for Drama. This video documents their show Split Britches- The True Story, which marks the initial collaboration of the trio and is the show from which they got their name. Conceived and directed by Lois Weaver, its a show based on true stories of three members of Weavers family in the Blue Ridge Mountains of Virginia, United States. It also marks the beginning of the companys aesthetic: weaving multiple true stories in one, trusting the details of the everyday and relying on relation rather than action. The Christian Science Monitor called this play a tiny masterpiece.
Not performance art a selective documentary of performers and performance, New York City, 1987-95 :a video(
visu
)
1
edition published
in
1995
in
English
and held by
1
library
worldwide
Documentary on performers and performance art in New York City. Includes interviews and performance excerpts.
Car thieves, joy rides by Deb Margolin (
visu
)
1
edition published
in
1995
in
English
and held by
1
library
worldwide
One person performance by artist Deb Margolin
Urban diva(
visu
)
1
edition published
in
1990
in
English
and held by
1
library
worldwide
Concert of vocal music ; no dance content.
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 Related Identities
Associated Subjects
African Americans--Relations with Jews Autobiography--Women authors Avant-garde (Music) Beauty and the beast (Tale) Benefit performances Censorship Conceptual art Covan, Ellie Criticism, interpretation, etc. Dixon Place Ukulele Ensemble Documentary films Drama Dukkehjem (Ibsen, Henrik) Experimental films Experimental theater Fairy tales Feminist theater Grief Hawaii Interviews Kotin, Lisa Lerner, Lisa,--1960- Lesbian couples Lesbian theater Little women (Alcott, Louisa May) Margolin, Deb Multiculturalism Murrin, Tom New York (State)--New York Oleszko, Pat Parent and child Parodies, imitations, etc. Performance art Performance artists Performances Pornography--Censorship Russell, Mark Social mobility Terminally ill Tourism Tufts, Gayle Turner, Jim United States Virginia Women Women murderers Women performance artists Women serial murderers Working class Yarden, Guy
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