This group of shows which takes because their motivation the stories that form united states mythology: yarns and fables owned by cowboys, Indians, voyageurs, spinsters, and big town Horatio Algers. They are tales that have been glamourized by popular culture, and which occur in iconic proportions. Yet they’ve been reasonably young, flexible tales, only 200 years old. Dempsey and Millan flex them so they really mirror a various viewpoint. By imposing an ironic lesbian and feminist reading/retelling upon these stories, they illuminate our history and our present, and produce alternate archetypes that propose brand brand new “new globes. ”
The Quick Tale of minimal Lizzie Borden is really a piece that posits rage as being a justifiable, certainly logical psychological reaction to modern globe occasions. There’s two elements for this work, a printed text that is directed at the viewers become read at their leisure, and a performance that examines a woman’s anger that is modern. The narrative that is written the storyline regarding the childhood of Victorian murderess, Lizzie Borden, who was simply accused of killing her moms and dads. As opposed to the print work’s nineteenth century, poetic design, the live show informs an account of present-day kleptomania, grooming, while the rush to war. Within an irony-laden tirade, Dempsey describes why she steals women’s mags.
“This just isn’t a gun. This isn’t an axe. This will be a hatchet. An inferior, scaled straight straight down, more feminine, less version that is effectual. Perhaps maybe maybe Not an instrument, an accessory! And add-ons create interest. ”
Duration: five full minutes.
First performed: October 2001, Finding Feminisms meeting, Mentoring Artists for Women’s Art, Winnipeg, Manitoba
Printed text posted in Bedtime tales for the side of the global World, Arbeiter Ring Press, 2012