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The Only Way Home is Through the Show
Performance Work of Lois Weaver
Now Available
Price £26.50, $35
Purchase this book
ISBN 9781783205349
Paperback 248 pages

Published September 2015
Imprint: Intellect
Books by Jen Harvie
Books by Lois Weaver
Books in Performing Arts
Other books in this series

Edited by Jen Harvie and Lois Weaver
Reviews     |      Comments

 Lois Weaver is one of the world’s leading figures in feminist and lesbian performance, a true pioneer in the growing field. This book offers the first book-length assessment of her career and work, tracing its history, aesthetics, principles, inspirations, innovations, and more. Contributors include Weaver’s most important collaborators from throughout her career, as well as many leading feminist theorists, journalists, and performers of the past forty years. The book also includes interviews not just with Weaver, but also with her partner, in life and performance, Peggy Shaw, and groundbreaking theatre-maker Muriel Miguel. The result is a book that is truly unprecedented, a lavishly illustrated and expertly curated celebration of an incredible career.

The book does an excellent job of representing an inspiring and instructive history of feminist thinking, doing, and making in Weaver’s work – from growing up in the American South in the 1950s to an international career between the US and UK since. Weaver’s own perspectives form a personal and, of course, political narrative represented in interviews, performance texts, stories, and lyrics that are juxtaposed with critical responses by others throughout.  

Reviews
'It is only fitting that the book that chronicles the career of pioneering feminist, lesbian performance artist, Lois Weaver is exceptional in its own right. This volume is a work of love with contributions from many of Lois’s collaborators, feminist theorists and writers.' – Morgan Gwenwald, GLBT Reviews

'Arguably, overall and above all, this volume helps to fill what has always been, and still is, a lamentable gap in terms of the documentation of feminist performance practices. Just as Lois expresses her debt to Muriel Miguel of Spiderwoman Theater for equipping her with the ‘tools’ that made it possible to make her own work and in turn hand these on to others (67), this book is a valuable means of communicating genealogies and legacies that are vital to sustaining and enhancing feminist performance cultures. In short, this is essential reading for all those makers, academics or theatre enthusiasts who share in Lois’s passionately held belief that ‘if you can imagine it you can make it. ' – Elaine Aston, Studies in Theatre and Performance

'...The Only Way Home weaves (a word that Weaver’s collaborator Stacy Makishi uses to draw a relation between Weaver’s work and her last name) together visuals with words, at times even presenting Weaver’s production notes and her drafts of performance creation as visuals (149). From these carefully laid out depictions, we grow to understand the work and the woman behind it.' – Megan Shea, The Drama Review

'The book does an excellent job of representing an inspiring and instructive history of feminist thinking, doing, and making in Weaver’s work – from growing up in the American South in the 1950s to an international career between the US and UK since. Weaver’s own perspectives form a personal and, of course, political narrative represented in interviews, performance texts, stories, and lyrics that are juxtaposed with critical responses by others throughout.  ' – Eleanor Roberts, Contemporary Theatre Review 28.3

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