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Split Britches (Theatre company)

Overview
Works: 21 works in 25 publications in 1 language and 50 library holdings
Genres: Drama  Parodies, imitations, etc  History  Interviews 
Roles: Producer, Interviewee, Creator
Classifications: PN1997,
Publication Timeline
Key
Publications about Split Britches (Theatre company)
Publications by Split Britches (Theatre company)
Most widely held works by Split Britches (Theatre company)
Split britches ( visu )
2 editions published between 1980 and 1984 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 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
Salad of the Bad Café ( visu )
2 editions published between 1998 and 2000 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. 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 such as the drunken homosexual writer, the gender outlaw, the homo-erotic cowboy, the reluctant lesbian bride, the mutant refugee, the faded southern belle, the geisha and the soldier, 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 most recent versions of the piece, performed in Boston in 2000
Beauty and the beast ( visu )
2 editions published between 1983 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 the first version of 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
Upwardly mobile home ( visu )
2 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
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
Interview with Lois Weaver & Peggy Shaw (Split Britches) ( visu )
1 edition published in 2007 in English and held by 2 libraries worldwide
Interview with Lois Weaver and Peggy Shaw of Split Britches, conducted by Sarah Townsend as a part of the 6th Encuentro of the Hemispheric Institute of Performance and Politics, celebrated in June of 2007 in Buenos Aires, Argentina under the title CORPOLÍTICAS en las Américas: Formaciones de Raza, Clase y Género / Body Politics in the Americas: Formations of Race, Class and Gender (http://hemi.nyu.edu/eng/seminar/2007/index.html). Split Britches (www.splitbritches.com) was founded in 1981 at the WOW Café in New York, United States. The group is part of Staging Human Rights, where they work in prisons in Rio de Janeiro and England. They are also associate artists on the Clod Ensembles performing medicine project
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
Double agency Miss Risqué & It's a small house and we've lived in it always ( visu )
1 edition published in 2002 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. These two videos document the NY premieres of the shows 'Miss Risqué' and 'It's A Small House and We've Lived in It Always', performed at La Mama, in the context of the two-piece spectacle show 'Double Agency', the first collaboration between Split Britches and the renowned English troupe The Clod Ensemble. The first video in this set 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 wasn't 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. The second video in this set 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
The anniversary waltz ( visu )
1 edition published in 1990 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 The Anniversary Waltz. A celebration of Lois and Peggys 10-year relationship, created 15 years before the debate on gay marriage, it is a commentary on the tendency to couple and a critique on the institution of marriage. At the same time it is a tribute to long term relationships sustained through creative work and an appropriation of the husband and wife team identities represented in vaudeville variety acts, comedy duos and musical duets
Belle reprieve ( visu )
1 edition published in 1991 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 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
Peggy Shaw and Lois Weaver at Dixon Place ( visu )
1 edition published in 1992 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 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'
Split Britches Retro perspective : It's a small house and we've lived in it always ( visu )
1 edition published in 2007 in English and held by 2 libraries worldwide
Video documentation of Retro Perspective / It's a Small House and We've Lived in It. Always, performed by Peggy Shaw and Lois Weaver of Split Britches as a part of the 6th Encuentro of the Hemispheric Institute of Performance and Politics, celebrated in June of 2007 in Buenos Aires, Argentina under the title CORPOLÍTICAS en las Américas: Formaciones de Raza, Clase y Género / Body Politics in the Americas: Formations of Race, Class and Gender. Split Britches (www.splitbritches.com) was founded in 1981 at the WOW Café in New York, United States. The group is part of Staging Human Rights, where they work in prisons in Rio de Janeiro and England. They are also associate artists on the Clod Ensembles performing medicine project. Retro Perspective is a short medley of old Split Britches hits that provides a humorous slant on Peggy Shaw's and Lois Weaver's last thirty years of work and play. In Small House, two explorers lay claim to the same territory. These people have known each other for a long time. They occupy a house that has been divided and subdivided by time and bad habits. They sit on a porch, watch the horizon, and wait for the weather to change. Their only hope is an audience. This video also includes a post-performance discussion with Peggy, Lois, and performance artist Anna Jacobs
Monsieur-madame ( visu )
1 edition published in 1991 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. 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
Faith and dancing ( visu )
1 edition published in 1999 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. 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
Lesbians who kill ( visu )
1 edition published in 1994 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 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
Patience and Sarah ( Computer File )
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
Menopausal gentleman ( 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 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!
You're just like my father ( visu )
1 edition published in 1994 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. 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
Dress suits to hire ( visu )
1 edition published in 1993 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 '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
Lust and comfort ( visu )
1 edition published in 1995 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. 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
 
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