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Weaver, Lois

Overview
Works: 36 works in 68 publications in 2 languages and 187 library holdings
Genres: Drama  Criticism, interpretation, etc  Parodies, imitations, etc  History  Interviews 
Roles: Performer, Director, Instrumentalist, Creator, Interviewee, Author of introduction
Classifications: PS627.L48, 812.540809206643
Publication Timeline
Key
Publications about Lois Weaver
Publications by Lois Weaver
Most widely held works about Lois Weaver
 
Most widely held works by Lois Weaver
She must be seeing things by Sheila McLaughlin( visu )
5 editions published between 1987 and 1992 in 3 languages and held by 90 libraries worldwide
A lesbian lawyer fears that her lover, a filmmaker, may turn to heterosexuality as the result of her latest film project about a 17th century nun intent on leaving her convent
Split britches ( visu )
6 editions published between 1980 and 1988 in English and held by 9 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 first rehearsal of the first draft of 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
Beauty and the beast ( Computer File )
3 editions published between 1983 and 1986 in English and held by 7 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 ( Computer File )
4 editions published between 1984 and 1986 in English and held by 7 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
Dress suits to hire ( visu )
3 editions published in 1993 in English and held by 5 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
Salad of the Bad Café ( Computer File )
4 editions published between 1998 and 2000 in English and held by 5 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
Lust and comfort ( visu )
3 editions published in 1995 in English and held by 5 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
Belle reprieve ( visu )
3 editions published in 1991 in English and held by 5 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
Lesbians who kill ( visu )
3 editions published in 1994 in English and held by 5 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
American rhapsody by Dallas Women's Chorus( Sound Recording )
1 edition published in 2000 in English and held by 4 libraries worldwide
Of all the nerve ( visu )
3 editions published in 1989 in English and held by 3 libraries worldwide
Theater piece
Theatre & audience by Helen Freshwater( Book )
2 editions published in 2009 in English and held by 3 libraries worldwide
A provocative overview of the questions raised by theatrical encounters between performers and audiences, drawing on examples that have sought to generate active audience involvement from Brecht's epic theatre to The Blue Man Group
Interview with Lois Weaver & Peggy Shaw (Split Britches) ( Computer File )
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
Preaching to the perverted ( visu )
1 edition published in 1999 in English and held by 2 libraries worldwide
Performance art by Holly Hughes performed September 1999 at the New Conservatory Theater commissioned by Dixon Place, Mondo Donna Series
Peggy Shaw and Lois Weaver at Dixon Place ( Computer File )
2 editions 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) 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
Split britches : lesbian practice/feminist performance by Sue-Ellen Case( Book )
2 editions published in 1996 in English and held by 2 libraries 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
Little women the tragedy ( Computer File )
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
Double agency Miss Risqué & It's a small house and we've lived in it always ( Computer File )
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
Little women ( Computer File )
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
Essences of London ( visu )
1 edition published in 2004 in English and held by 2 libraries worldwide
On the scent explores the elusive connections between smell and memory. The performance takes place in a home through which audience members are invited on intimate and distinctly aromatic journeys. Scents mingle and intertwine in the livingroom, kitchen and bedroom as three distinctly different performances exude their own haunting, darkly humorous and seductive essences throughout the house. On the Scent features live performances by Helen Paris and Leslie Hill and Lois Weaver
 
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Languages
English (49)
German (1)
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