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Killing “Woman”: Gender and Violence in Selected Plays By KILLING “WOMAN”: GENDER AND VIOLENCE IN SELECTED PLAYS BY SHEILA CALLAGHAN AND MARISA WEGRZYN ________________________________________________________________ A Dissertation presented to the faculty of the Graduate School at the University of Missouri – Columbia ________________________________________________________________________ In partial fulfillment of the Requirement for the Degree of Doctor of Philosophy ________________________________________________________________________ by KATE BUSSELLE Dr. Cheryl Black, Dissertation Supervisor JULY 2019 The undersigned, appointed by the dean of the Graduate School, have examined the dissertation entitled KILLING “WOMAN”: GENDER AND VIOLENCE IN SELECTED PLAYS BY SHEILA CALLAGHAN AND MARISA WEGRZYN Presented by Kate Busselle, a candidate for the degree of Doctor of Philosophy And hereby certify that, in their opinion, it is worthy of acceptance. Professor Cheryl Black Professor David Crespy Professor Claire Syler Professor Ilyana Karthas ii ACKNOWLEDGEMENTS I would like to acknowledge the many people who have aided me in this journey to write, debate, and develop this dissertation. I would like to thank my parents for their unyielding support and their repeated encouragement to use my Finnish roots and “sisu” through any struggles I encountered along the way. To Dan, thank you for being my absolute rock, my number one cheerleader, and my constant reminder that if writing a dissertation was easy, then everyone would do it. Dr. Black, I am forever in your debt and endlessly thankful for your guidance, mentorship, and friendship on this journey. You will forever be one of my favorite collaborators in scholarship and artistic practice. You held me to the highest standard and expected nothing less than the best from me and my work, and for that, I am sincerely grateful. Dr. Crespy, Dr. Syler, and Dr. Karthas, thank you for your service, your insights, and your enthusiasm for this project. It was so refreshing to have a team of individuals who not only believed in the work I was doing but championing it and thinking of all the ways that this work could continue to grow and flourish. To Sheila and Marisa, thank you for writing works that challenge the status quo and have inspired me, provoked my thinking, and challenged the depth and breadth of my scholarship. You two are true pioneers in feminist playwriting and I cannot wait to see what you write next. To all my friends and colleagues, thank you for indulging me when I needed a shoulder to cry on, a second set of eyes and ears to process an idea, and iii the repeated encouraging line of “I can’t wait to read your dissertation when it’s done.” iv TABLE OF CONTENTS ACKNOWLEDGEMENTS ................................................................................................ ii ABSTRACT .........................................................................................................................v CHAPTER ONE: Introduction ............................................................................................1 Purpose ...........................................................................................................................8 Justification ....................................................................................................................9 Gender and Violence ................................................................................................10 Methodology ................................................................................................................21 Terminology and Definitions .....................................................................................24 Literature Review.........................................................................................................25 Dramatic Representations of Violence .......................................................................25 Scholarship on Sheila Callaghan ................................................................................29 Scholarship on Marisa Wegrzyn ................................................................................30 Violence Theory .......................................................................................................30 Violence and Theatre ................................................................................................31 Performance of Identity ............................................................................................32 Feminist Theory ...........................................................................................32 Masculinity Studies ......................................................................................33 Humor .....................................................................................................................34 Organization .................................................................................................................35 CHAPTER TWO: Roadkill Confidential: “I am the keeper of the marvel” ......................37 CHAPTER THREE: That Pretty Pretty; Or, the Rape Play: “I want to kill that pretty” ..73 CHAPTER FOUR: Killing Women: “What is execution but, literally, the opposite of who we are?” .................................................................................................125 CHAPTER FIVE: The Butcher of Baraboo: “Lots of ways to kill a person…” .............150 CHAPTER SIX: Conclusion: “That’s some subversive shit right there.” .......................181 Summary of Findings .................................................................................................182 Staging Violence: Realism, Romanticism, and Reinforcing Gender Disruptions .....186 Implications for Further Research .............................................................................196 BIBLIOGRAPHY ............................................................................................................199 VITA ................................................................................................................................211 v ABSTRACT One of the most popular manifestations of spectacle in the theatre is violence. Frequently, violence on the stage manifests in the form of violence towards women at the hands of men. As a woman violence and intimacy designer, I wanted to find works that challenged and subverted this popular staging and question what those works have to say about gender, violence, and gender performance. Two playwrights who are challenging long-held dramatic representations of women and violence are playwrights Sheila Callaghan and Marisa Wegrzyn. Callaghan and Wegrzyn are two of the founders of the Kilroys, a group of femme-identifying literary managers, playwrights and producers living in Los Angeles, California, who organized in 2013 to promote the work of female and trans playwrights. Not only do their most representative works contain several acts of violence committed by women characters, but the nature of these portrayals of violence strays from “traditional” representations of violence. Using a range of relevant theoretical lenses, I will analyze four representative plays—Sheila Callaghan’s Roadkill Confidential and That Pretty Pretty; or, the Rape Play and Marisa Wegrzyn’s The Butcher of Baraboo and Killing Women to investigate how these works disrupt essentialist notions of gender and identity, with special attention to the implications and meanings of their dramatic representation of onstage acts of violence committed by women. Through critical analysis of these works, this dissertation seeks to increase understanding of how these performances of violence challenge heteronormative notions of gender. As the context in which these violent acts occur is crucial, this dissertation analyzes the gendered implications of the setting, plot, and characterizations of each work. Additionally, this dissertation explores how designing the violence within these moments may help reinforce the gender disruption created by Callaghan and Wegrzyn. 1 CHAPTER ONE Introduction “Kate, you throw a great punch, but you need to learn how to receive one better because women are always on the receiving end in theatre.” This was said to me as an undergraduate student by a female fight instructor in my very first stage combat class. This moment, while intended to be a fleeting moment of guidance from my instructor, has become cemented in my brain. In the moment, I was puzzled, but took the note seriously and headed back to my apartment. On the walk home, I began to interrogate this statement in more detail. What about all the images of strong women I saw on television growing up, like teenage secret agent Kim Possible, the yellow and pink Power Rangers, and The Powerpuff Girls? If I never get to throw a punch, then why is a female fight instructor teaching me how to do one? I was confused about my potential prospects in acting with stage combat. If I am good at throwing a punch, why are there not opportunities for me to showcase my talent? Unsatisfied with the answers I could come up with to these questions, I decided to start seeking out and collecting plays in which women committed acts of violence onstage. That quest has translated into several years of building a library of texts that provided me, or any of my woman-identifying students, with opportunities to perform onstage violence. Tracing the texts I had through theatre history, visibility of violent female characters grows over time.1 Starting with the Greeks, Medea
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