Ruff by Peggy Shaw and Lois Weaver

2013 ◽  
Vol 65 (4) ◽  
pp. 576-577
Author(s):  
Benjamin Gillespie
Keyword(s):  
Peggy Shaw

Last Gasp (WFH) by Peggy Shaw and Lois Weaver

2021 ◽  
Vol 73 (2) ◽  
pp. 225-227
Author(s):  
Heidi Łucja Liedke
Keyword(s):  
Peggy Shaw

Seeing Deb Margolin: Ontological Vandalism and Radical Amazement

2008 ◽  
Vol 52 (3) ◽  
pp. 98-117
Author(s):  
Jill Dolan
Keyword(s):  
American Theatre ◽  
Feminist Performance ◽  
Peggy Shaw

Playwright and performer Deb Margolin's contributions to contemporary American theatre over the course of her now 25-plus year career have been eclectic. In the 1980s and early '90s she performed with Peggy Shaw and Lois Weaver as the feminist performance troupe Split Britches, for which Margolin did much of the writing, based on the trio's improvisations and experiments. In the interstices of her work with Split Britches, Margolin built her own career as a solo performer and playwright. In her autobiographical Index to Idioms, premiered in 2005, and in conversation with Jill Dolan, Margolin addresses her process, politics, and pleasures in performance and playwrighting.

Dress Suits to Hire: A Collaboration between Holly Hughes, Peggy Shaw, and Lois Weaver

1989 ◽  
Vol 33 (1) ◽  
pp. 132 ◽  
Author(s):  
Holly Hughes ◽  
Lois Weaver ◽  
Peggy Shaw
Keyword(s):  
Peggy Shaw

“When Elephants Are in Must”: Peggy Shaw, Acts of Trans/fer, and the Present Future of Queer Desire

2014 ◽  
Vol 58 (4) ◽  
pp. 68-79 ◽  
Author(s):  
Jaclyn Pryor
Keyword(s):  
Next Generation ◽  
Peggy Shaw

Performed three months after performance artist Peggy Shaw nearly died from a stroke, the 2011 production of Must in Amherst was infused with the exigencies of the present: Shaw “must” perform Must in order to pass her butch legacy onto the next generation of queer and trans folk in the audience.

Naked Truth: Theatrical Performance and the Diagnostic Turn

2011 ◽  
Vol 36 (2) ◽  
pp. 148-162 ◽  
Author(s):  
JAMES FRIEZE
Keyword(s):  
Final Section ◽  
Crime Scene ◽  
Crime Scene Investigation ◽  
The Real ◽  
Theatrical Performance ◽  
Scene Investigation ◽  
Primary Focus ◽  
Peggy Shaw

In a fashion that harks back to the birth of naturalistic drama, but also reflects contemporary anxieties about the etiolation of the real, the forensic capabilities of theatre have become, in the last two decades, the primary focus of theatrical attention. Reconsidering landmark works and rhetorical frames that helped to establish verbatim, virtual and in-yer-face theatre, this article explores the ways in which these key works and genres deploy, and attempt to jam, theatre's diagnostic machinery. The article contextualizes that machinery in relation to the medical underpinnings of naturalism, the growth of theatrical reflexivity from Pirandello to Beckett to Blast Theory, and the televisual phenomena of crime-scene investigation and fly-on-the-wall ‘reality shows’. In the final section I move to address two works which are explicitly about diagnosis, but which, in signal and purposeful ways, evade diagnosis: Must, by American performance artist Peggy Shaw and British company Clod Ensemble; and If That's All There Is, by UK-based company Inspector Sands.

scholarly journals Entrevista com Peggy Shaw

Sala Preta ◽  
2010 ◽  
Vol 10 (0) ◽  
pp. 251
Author(s):  
Ana Berstein
Keyword(s):  
Peggy Shaw
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