Women and Comedy in Solo Performance

This work examines the dramatic changes in American women's comedy performance in the years 1955-1995. The study focuses on the stand-up of Phyllis Diller and Roseanne, and on the character comedy of Lily Tomlin.

Informationen zum Autor Suzanne Lavin Klappentext This work examines the dramatic changes in America women's comedy performance in the years 1955-1995.The study focuses on the standup of Phyllis Diller and Roseanne andon the character comedy of Lily Tomlin. As the historical arc of women's comedy unfolds, it outlines a change from the traditional vaudevillian style of standup, as represented by Diller (50s-70s), to a more satiric comedy represented by Tomlin (60s-80s) and Roseanne (80s-90s). Zusammenfassung This work examines the dramatic changes in American women's comedy performance in the years 1955-1995. The study focuses on the stand-up of Phyllis Diller and Roseanne, and on the character comedy of Lily Tomlin. Inhaltsverzeichnis 1. Introduction 2. Phyllis Diller: The Clown as Standup Comedian 3. Lily Tomlin: Breaking with Tradition 4. Roseanne: Fighting for Women's Comic Voice 5. New Directions for Women's Comedy: The Search for Signs of Intelligent Life in the Universe by Jane Wagner 6. Conclusion: Feminist Humor and Change

Autorentext

Suzanne Lavin

Klappentext

This work examines the dramatic changes in America women's comedy performance in the years 1955-1995.The study focuses on the standup of Phyllis Diller and Roseanne andon the character comedy of Lily Tomlin. As the historical arc of women's comedy unfolds, it outlines a change from the traditional vaudevillian style of standup, as represented by Diller (50s-70s), to a more satiric comedy represented by Tomlin (60s-80s) and Roseanne (80s-90s).

Inhalt

1. Introduction 2. Phyllis Diller: The Clown as Standup Comedian 3. Lily Tomlin: Breaking with Tradition 4. Roseanne: Fighting for Women's Comic Voice 5. New Directions for Women's Comedy: The Search for Signs of Intelligent Life in the Universe by Jane Wagner 6. Conclusion: Feminist Humor and Change