M. Heather Carver

Jacqueline Taylor

Lynn C. Miller

This volume includes scripts and essays about performances of the lives of women such as Gertrude Stein, Georgia O'Keeffe and Anais Nin, which consider issues that arise when a woman represents another woman's life. In the second section, seven performers tell their own stories, engaging issues of sexual orientation, ethnicity, race, loss of parent, disability, life and death. autobiographical performance. It examines the links between theory and criticism of women's autobiography, feminist performance theory and performance practice.

Performing Women's Autobiography

Voices Made Flesh

Fourteen bold, dynamic, and daring women take the stage in this collection of women's lives and stories. Individually and collectively, these writers and performers speak the unspoken and perform the heretofore unperformed. The first section includes scripts and essays about performances of the lives of Gertrude Stein, Georgia O'Keeffe, Mary Church Terrell, Charlotte Cushman, Anaïs Nin, Calamity Jane, and Mary Martin. The essays consider intriguing interpretive issues that arise when a woman performer represents another woman's life. In the second section, seven performers--Tami Spry, Jacqueline Taylor, Linda Park-Fuller, Joni Jones, Terri Galloway, Linda M. Montano, and Laila Farah--tell their own stories. Ranging from narrrative lectures (sometimes aided by slides and props) to theatrical performances, their works wrest comic and dramatic meaning from a world too often chaotic and painful. Their performances engage issues of sexual orientation, ethnicity, race, loss of parent, disability, life and death, and war and peace. The volume as a whole highlights issues of representation, identity, and staging in autobiographical performance. It examines the links among theory and criticism of women's autobiography, feminist performance theory, and performance practice.

Elaine J. Lawless

Troubling Violence: A Performance Project follows the collaboration between performance studies professor M. Heather Carver and ethnographic folklorist Elaine J. Lawless. The book traces the creative development of a performance troupe in which women take the stage to narrate true, harrowing experiences of domestic violence and then invite audience members to discuss the tales. Similar to the performances, the book presents real-life narratives as a means of heightening social awareness and dialogue about intimate partner violence. “Troubling violence” refers not only to the cultures in our society that are “troubling,” but also to the authors' intent to “trouble” perceptions that enforce social, cultural, legal, and religious attitudes that perpetuate abuse against women. Performance, this book argues, enhances ethnographic research and writing by allowing ethnographers to approach both their field studies and their ethnographic writing as performance. The book also demonstrates how ethnography enhances the study of performance. The authors discuss the development of the Troubling Violence Performance Project in conjunction with their own “performances” within the academy.

A Performance Project

Troubling Violence

William T. Horner

Two remarkable events occurred during 1976: The debut of Saturday Night Live and the Presidential Election pitting Gerald Ford against Jimmy Carter. Both events had profound and enduring influence on shaping the country America is today. When Saturday Night Live premiered, the show's impact was evident very quickly, as it grabbed huge ratings and several Emmy Awards in its first season; made household names of its seven original stars; and had a remarkable influence on popular and political culture with its mix of music, comedy, and live theater. In April of 1976, while he was in the midst of a fight for the Republican presidential nomination and his political survival, President Gerald Ford gave his press secretary, Ron Nessen, permission to become the first politician to guest host NBC's Saturday Night. In addition to Nessen, the President also appeared on the show, via video tape, to introduce his press secretary and to offer a comic counterpunch to Chevy Chase's signature line, "I'm Chevy Chase and you're not," at the beginning of "Weekend Update." Ever since Nessen's and Ford's appearances, it has become a rite of passage for politicians with a national profile, or those with a desire to have a national presence, to appear on Saturday Night Live, and the show's treatment of those politicians and many political topics has had a continuing impact on Americans' feelings and discussions about politics. This book is the first to examine the ground-shaking collision of SNL and Presidential Politics when it all began.

A New Voice Enters Campaign Politics

Saturday Night Live and the 1976 Presidential Election

Two events in 1976 had enduring effects on American culture—the debut of Saturday Night Live and the presidential election pitting Gerald Ford against Jimmy Carter. With its mix of sketch comedy and music, SNL grabbed huge ratings and several Emmys in its first season and made household names of its seven original cast members. While fighting for the Republican presidential nomination (and his political survival) President Ford allowed his press secretary, Ron Nessen, to guest-host SNL—the first politician to do so. Ford also appeared on the show, via video tape, to offer a comic counterpunch to Chevy Chase’s signature line, “I’m Chevy Chase and you’re not." In the election seasons that followed, it became a rite of passage for politicians establishing a national profile to appear on SNL, while the show's treatment of them and their platforms has had a continuing impact on political discourse.

M. Heather Carver

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