Starting from the historical link between criminality and sexual deviancy, this text builds a complex theory in which the shadow of the lesbian animates representations of violent women in literature, plays, films and performance. Chapters detail this theory in diverse areas, including: Frank Wedekind's "Lulu Plays"; "Thelma and Louise" and "Basic Instinct"; the performance art of Karen Finley in the context of censorship debates; "The Split Britches" performance, "Lesbians Who Kill", and "Fatal Women".

The "Critical Performance" series pairs a performance artist or playwright with a critical theorist in a dialogue aimed to elucidate both disciplines. This volume focuses on Deb Margolin, one of the three founding members of the American performance troupe Split Britches.

In this study of lesbian sadomasochism, Lynda Hart focuses on the ways in which sadomasochistic sexual practices have been engaged by critics and theorists. She notes how, for two decades, this much-reviled area of sexuality has emerged as a Rorschach test for diverse communities - radical feminists, mainstream feminists, and the New Right - that are struggling to come to grips with their own sexual anxieties.

Focusing on a variety of representations, from the boundary-shattering work of queer performances to the daring conjunction of childhood sexual abuse and desire in the work of Dorothy Allison, "Between the Body and the Flesh" stimulates discussions of s/m through the exploration of censorship in the arts, the fetishization of sexual paraphernalia, recombinations of class, race and sexuality, and the politics of psychoanalysis.

A wonderfully helpful survey of the drama of Sam Shepard. It is bound to find many eager readers among those who are either intrigued or baffled--or both--by the plays of this still-young playwright whom many think contemporary America's finest. Choice America's most highly acclaimed contemporary playwright continues to puzzle critics, even as his reputation grows and his imagination seeks new creative channels. Finding the dramatist difficult to classify, critics and scholars continue to search for the central direction of Shepard's creative development. Lynda Hart's study, which focuses on ten representative plays, is the first book to examine Shepard's growth and development as a dramatist within and against the historical tradition. Offering a unified critical perspective, the author considers the plays from both a literary standpoint and as texts for performance. Resources include a bibliography that offers the most complete listing of relevant critical writings.

For more than two decades, feminist theater troupes, playwrights, comedians, and performance artists have challenged convention, raised consciousness, and provoked controversy. Acting Out is the first collection of essays to critically examine the impact that these performers, from the Women's Experimental Theater in the 1970s to contemporary artists such as Madonna, Karen Finley, Cherrie Moraga, Holly Hughes, and Anna Deavere Smith, have had on Anglo-American culture. These original essays cover a variety of subjects including alternative theater, the diversity of feminist aesthetic strategies, stand-up comedy and the politics of gender, lesbian sexuality, and the antifeminist, anti-abortion demonstrations of Operation Rescue. Both a critical account of contemporary feminist performance and an illustration of its depth and diversity, Acting Out is essential reading for anyone interested in feminist theory, sexual difference, queer theory, or the politics of contemporary performance. Contributors include Philip Auslander, C. Carr, Kate Davy, Joyce Devlin, Elin Diamond, Jill Dolan, Hilary Harris, Lynda Hart, Lynda M. Hill, Julia Malnig, Vivian M. Patraka, Peggy Phelan, Janelle Reinelt, Sandra L. Richards, Amy Robinson, Judy C. Rosenthal, Rebecca Schneider, Raewyn Whyte, and Yvonne Yarbro-Bejarano.