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Split Britches

Overview
Works: 21 works in 28 publications in 2 languages and 35 library holdings
Genres: Drama  Parodies, imitations, etc  History  Fiction 
Roles: Producer
Classifications: PS627.L48, 812.540809206643
Publication Timeline
Key
Publications about Split Britches
Publications by Split Britches
Most widely held works about Split Britches
 
Most widely held works by Split Britches
Split britches ( visu )
in English and held by 5 libraries worldwide
The feminist theatre group Split Britches wrote and performed its own material. These six videos were shot during performances, and although the videos are less than perfect, the performances are gems
Dress suits to hire ( visu )
2 editions published in 1993 in English and held by 4 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 their show Dress Suits to Hire. Written by Holly Hughes in collaboration with Peggy Shaw and Lois Weaver, the piece uses images from pulp fiction and film noir to portray the erotic cat and mouse relationship between characters Deluxe and Michigan, two women who live in a clothing store. Heated fantasies, brassy broads, and sexual charades make for a carnivorous free-for-all. The video also includes a Q&A session with Shaw and Weaver at the end of the performance
Lesbians who kill ( visu )
2 editions published in 1994 in English and held by 4 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 their show Lesbians Who Kill, written by Deb Margolin in collaboration with Peggy Shaw and Lois Weaver. Performed by Shaw and Weaver as 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
Belle reprieve ( visu )
2 editions published in 1991 in English and held by 4 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 their performance Belle Reprieve. Collaborating with legendary gay/drag performers Bloolips, Shaw and Weaver take on Tennessee Williams Streetcar Named Desire and the mythic proportions of Stanley and Blanche. Both steamy and hysterical, Belle Reprieve looks at gay and lesbian sex in the 1940s and both honors Williams and turns him on his head
Upwardly mobile home ( visu )
2 editions published in 1984 in English and held by 4 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 Upwardly Mobile Home, performed at WOW Café on East 11th Street in New York City. 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
Lust and comfort ( visu )
2 editions published in 1995 in English and held by 4 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. 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 Lust and Comfort, a theater piece written by Peggy Shaw, Lois Weaver and James Neale Kennerely and performed by Peggy Shaw and Lois Weaver. Lust and Comfort uses three story lines to examine the ups and downs of a long term relationship and the changing terrain of sexual desire. Using cross-dressing characters and movie references to The Servant and The Bitter Tears of Petra Von Kant, Shaw and Weaver address how lesbians invent their lives out of popular heterosexual cultural references
Beauty and the beast ( visu )
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 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
Love in a post-claustrophobic era : reflections on 'Salad and the bad cafe' by Split Britches( Sound Recording )
1 edition published in 2000 in English and held by 2 libraries worldwide
Split britches : lesbian practice/feminist performance by Sue-Ellen Case( Book )
1 edition published in 1996 in English and held by 1 library worldwide
The Split Britches theatre company have led the way in innovative and challenging lesbian performance for the last decade. Split Britches: Lesbian Practice/Feminist Performance is a long awaited celebration of the theatre and writing of Lois Weaver, Peggy Shaw and Deborah Margolin, who make up this outstanding troupe. This unique anthology comes complete with: * seven of Split Britches' best loved performance texts * a critical, historical introduction by Sue-Ellen Case * programme notes to accompany each of the plays * a range of stunning photographic illustrations The publication of the Spli
Split Britches Archive by Split Britches( Archival Material )
in English and held by 1 library worldwide
This collection is comprised of materials created and compiled by the members of the Split Britches in the course of their work as artists, playwrights, and performers. Materials include correspondence, notes, receipts, photographs, floorplans, and ephemera generated both by individual members of the group and by the group as a whole. Items in the collection range from 1978-2000, with the bulk from 1982-1992.The collection is organized into four series:Series I: Scripts and Notes--consists of
Belle reprieve ( visu )
in English and held by 1 library worldwide
Videorecording of live performance by Split Britches
Monsieur-madame ( visu )
1 edition published in 1991 in English and held by 0 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 a staged reading of Ginka Steinwachs' text 'Monsieur-Madame'. Directed by Lois Weaver and Peggy Shaw, the performance is a collaboration between Split Britches and legendary queer theater troupes Bloolips and The Five Lesbian Brothers
Split Britches ( Book )
1 edition published in 1982 in Danish and held by 0 libraries worldwide
It is a small house and we've lived in it always ( visu )
1 edition published in 2002 in English and held by 0 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.' This video documents their piece Its a Small House and We've Lived in it Always. In it, two explorers lay claim to the same territory. With three chairs as its only props, little speech, some song and much meaningful movement and expressive acting, the piece shows longtime cohabitants engaged in a contest for space. These people have known each other for a long time. They occupy a house the size of a small stage, a house divided and subdivided by time and bad habits. They sit on the porch, watch the horizon, and wait for the weather to change. Their only hope is an audience. As they move apart and then together, spurn advances and accept closeness, mime rejection and flirtation and reveal need, the two performers enact the ebb and flow of a universally resonant relationship. This work was first commissioned by the South Bank Center as part of the British Festival of Visual Theatre. This video documents its NY premiere at La Mama, in the context of the show Double Agency, the first collaboration between Split Britches and the renowned English troupe The Clod Ensemble. A two-piece spectacle, Double Agency also features the piece Miss Risqué
Menopausal gentleman ( visu )
1 edition published in 1998 in English and held by 0 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 their show Menopausal Gentleman, Peggy Shaws bluesy, pseudo-stream-of-consciousness lounge act about a butch lesbian going through the change. An Obie-winning, tour de force one-woman show about a menopausal body and the fires of its ageless heart, Peggy Shaw's Menopausal Gentleman is a revelation. Shaw riffs on the hormonal effects of menopause complete with hot flashes, cold sweats, humor and tears, penetrating and perpetuating the mystery in an unlikely persona. She is a tough-speaking film-noir soul performed in Shaw's trademark drag patois (a self-conscious and artificially low New Yorkese), or to put it simply: a tough guy in a swell suit!
Miss Risqué ( visu )
1 edition published in 2002 in English and held by 0 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 their piece Miss Risqué, a story of secrets and showgirls, set in turn-of-the-century Paris, where working-class girls could become rich and famous, prostitutes could pass for nobility, women could have open affairs with women, and sex wasnt exclusive to the marital bed. A piece on resistant femininity, Miss Risqué is a lyrical lesbian tarantella that explores the power of femininity, visibility, invisibility and deception. It was commissioned by the Nuffield Theatre, Lancaster University and supported by the National Lottery through the Arts Council of England, the London Arts Board, and Queen Mary, University of London. This video documents its NY premiere at La Mama, in the context of the show Double Agency, the first collaboration between Split Britches and the renowned English troupe The Clod Ensemble. A two-piece spectacle, Double Agency also features the piece It's A Small House and We've Lived in It Always
Faith and dancing ( visu )
1 edition published in 1999 in English and held by 0 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. 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 one-woman show Faith and Dancing. Written and performed by Lois Weaver, the piece is an autobiographical journey from an early life growing up a strict Southern Baptist in 1950s Virginia to lesbian femme in the 1990s. In Weavers exploration, faith meets science and sermons meets striptease and she reconciles how a youthful evangelist became an aging exhibitionist
Salad of the Bad Café ( visu )
2 editions published between 1998 and 2000 in English and held by 0 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. Salad of the Bad Café is a postmodern cabaret written and performed by Lois Weaver and Peggy Shaw of Split Britches and Asian American performance artist Stacy Makishi. Inspired by Carson McCullers' novel Ballad of the Sad Café and the lives of Tennessee Williams and Yukio Mishima, it is a treatise on love in a post-claustrophobic era. The play begins in 1945, in the summer that lay between the war and the postwar period when Japan was weeping, the American South was seething and the word Gender was mostly used in grammar class. The setting is a cafe where people come to spend a few hours so that the deep bitter knowing that their life is not worth much can be laid to rest. Racial, gender and regional stereotypes come together to tell a story of unrequited love, in an attempt to demystify the Queer, disorient the Orient and demythify the Southern Gothic and the American Grotesque. This is one of the first iterations of the piece, performed as a work-in-progress in London in 1998
Peggy Shaw and Lois Weaver at Dixon Place ( visu )
1 edition published in 1992 in English and held by 0 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.' This video documents a work-in-progress by Lois Weaver and Peggy Shaw, staged at experimental theater venue Dixon Place in New York City in 1992. An informal evening on issues of butch-femme, gender and queer, it is a collaboration with artists Vicky Genfan, Claire Moed, and Leslie Feinberg. The resulting piece is a vaudevillian satirical gender-bending performance for your theoretical entertainment
You're just like my father ( visu )
1 edition published in 1994 in English and held by 0 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. This video documents Peggy Shaws one-woman show Youre Just Like My Father. In this performance Shaw pieces together the challenges of growing up butch in the 1950s with a combination of both toughness and vulnerability. Using male role models such as an Army officer and Elvis, Shaw explores the controversial relationship between a butch and her mother, offering both affirmation and criticism. If on the surface You're Just Like My Father seems to be a wry exercise in pseudo-macho braggadoccio, it has its poignant undercurrents. Shaws performance isn't so much a satire of male chauvinism as a pure celebration of her masculine self
 
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English (27)
Danish (1)
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