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278:, the Porch Sitting, the Care Café, Domestic Terrorism, the Card Table, the Library of Performing Rights, FeMUSEum, the Manifesto Room, Performing the Issue, Performing the Persona, and Performing as Methodology. All of Weaver's public engagement practice is considered open-source, and protocols are published on the Public Address Systems website. Additionally, Weaver has developed several projects like Democratizing Technology and Staging Human Rights.
177:, whose members focused on using their own stories to address gender roles, economic realities and violence in women's lives. Weaver helped develop the signature Spiderwoman approach to performance creation which they called 'storyweaving', combining improvisational techniques from the Open Theatre, the Hopi goddess of creation's lessons on weaving, movement, and personal stories. While on tour with Spiderwoman in Europe, Weaver and
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activism against the
Vietnam War, moving to Baltimore to work for a peace and justice center. While in Baltimore, Weaver began working with the Baltimore Free Theatre and was exposed to a range of experimental theatre practices. In the mid 1970s, Weaver moved to New York where she worked in a fish market and in Special Education in public schools while pursuing a performance career.
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Weaver's curatorial work focuses on feminist practice and non-hierarchical alternatives to existing social structures. This work includes expanded opportunities to emerging artists and under-represented groups in the arts, and has resulted in projects like the AiR Project and
Peopling the Palace
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Weaver was born in
Roanoke, Virginia. As a child she began performing with the Mount Pleasant Southern Baptist Church. She graduated with degrees in theatre and education from the all women's college Radford College (later Radford University) in 1972. After graduating Weaver began involved in
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Through her solo performance work and her work as the
Artistic Director of Split Britches, Weaver's performance practice incorporates public engagement as both a method of creation and performance. Dialogic methods are incorporated into the creation process, through extensive workshops and
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Weaver's work, both in her solo performances and her work with Split
Britches, is known for its imaginative use of text and image, which are juxtaposed for both serious and comic ends. She mixes fact and fiction to create ambiguous forms of autobiography.
200:, an award-winning company who use theatricality to create work that centers on lesbian and queer identities. Weaver has had productive collaborative relationships with theatre and performance artists
232:, and performance as a means for public dialogue. Weaver was awarded a Wellcome Trust Engaging Science Fellowship to continue this work in 2016. This practice is part of a larger trend in
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Her work centers on feminism, human rights and possibilities for public participation. Active for over four decades, she is the founding member of significant New York theatre companies
144:(Women's One World Cafe) (1980). Weaver came to London to take on the role of artistic director for Gay Sweatshop Theatre Company in 1992. She lives in New York and London.
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project, which creates hospitable spaces for open conversation. This project has three strands, Performance, Place, and the
Everyday, and has many forms including the
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involve audience participation as an integral component. Recent engagement and performance work has focused on elders and age related issues.
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Guggenheim
Fellowship for Creative Arts, Wellcome Trust Engaging Science Fellowship, Edwin Booth Award, Innovative Theatre Achievement Award
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125:-winning American artist, activist, writer, director, and Professor of Contemporary Performance at
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Weaver's theatre and performance practice spans collaborative and solo work. In 1974 Weaver met
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Lady Dicks and
Lesbian Brothers: Staging the Unimaginable at the WOW Café Theatre
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conversations with target groups. Recent performances like Weaver's solo show
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The only way home is through the show : performance work of Lois Weaver
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toward social engagement, and created a website www.split-britches.com/lois
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684:"Review: In 'Unexploded Ordnances,' It's an Hour to Doomsday. Help!"
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Mythic women/real women : plays and performance pieces by women
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129:. She is currently a Wellcome Trust Fellow in Engaging Science.
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392:. Goodman, Lizbeth, 1964-. London: Faber and Faber. 2000.
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What Tammy Needs to Know About
Getting Old and Having Sex
311:"Matt & Andrej Koymasky - Famous GLTB - Lois Weaver"
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performance, live art, public engagement, education
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438:. Harvie, Jen,, Weaver, Lois. London, UK. 2015.
262:Festival at Queen Mary, University of London.
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563:"Peggy Shaw - Doris Duke Artist Award 2014"
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538:"La Mama Archives -Dress Suits For Hire"
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228:Weaver's practice has a focus on
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744:"REF Case study search"
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362:"WOW Cafe Theatre"
317:. October 26, 1949
315:Andrejkoymasky.com
80:Radford University
663:. October 4, 2016
569:on April 26, 2014
230:public engagement
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282:Filmography
240:Performance
208:founded by
183:Hot Peaches
157:Performance
140:(1980) and
115:Lois Weaver
68:Nationality
25:Lois Weaver
769:Categories
542:Kamama.org
399:0571191401
297:References
276:Long Table
190:Peggy Shaw
179:Peggy Shaw
148:Early life
123:Guggenheim
49:1949-10-26
753:March 23,
701:March 23,
696:0362-4331
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346:April 25,
169:, at the
76:Education
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321:June 21,
257:Curation
234:live art
206:Bloolips
136:(1975),
71:American
121:) is a
103:Website
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95:Awards
82:, 1972
62:, U.S.
755:2018
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518:ISBN
497:2023
472:link
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450:OCLC
440:ISBN
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394:ISBN
369:2014
348:2014
323:2016
192:and
43:Born
142:WOW
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