(Applause Books). It wasn't until the 10th century that women were allowed to perform, and then only in rare incidences. Like many art forms, female comedy got its start in the church and expanded to stage, radio, film, and television. For the longest time, it has been believed that women aren't funny. The stories within these pages will not only debunk that myth but will make you wonder how it ever got started in the first place. Women of all races have not only taken center stage in comedy, but in many cases, have dominated it. This book thoroughly explores the genre. Comediennes: Laugh Be a Lady chronicles the evolution of the humor through the research of Darryl and Tuezdae Littleton and the scores of interviews they conducted with veteran female performers from all mediums, as well as Tuezdae's own experiences as a comedienne. Startling facts are revealed and tributes are paid to the icons of yesteryear by the titans of today in their own words and sentiments. Women have always made us laugh, from their outrageous characters, pratfall humor, cutting barbs, clever wit and unforgettable side-splitting moments. Their "herstory" has only just begun.

Women explode out of chimneys and melt when sprayed with soda water. Feminist activists play practical jokes to lobby for voting rights, while overworked kitchen maids dismember their limbs to finish their chores on time. In early slapstick films with titles such as Saucy Sue, Mary Jane’s Mishap, Jane on Strike, and The Consequences of Feminism, comediennes exhibit the tensions between joyful laughter and gendered violence. Slapstick comedy often celebrates the exaggeration of make-believe injury. Unlike male clowns, however, these comic actresses use slapstick antics as forms of feminist protest. They spontaneously combust while doing housework, disappear and reappear when sexually assaulted, or transform into men by eating magic seeds—and their absurd metamorphoses evoke the real-life predicaments of female identity in a changing modern world. Specters of Slapstick and Silent Film Comediennes reveals the gender politics of comedy and the comedic potentials of feminism through close consideration of hundreds of silent films. As Maggie Hennefeld argues, comedienne catastrophes provide disturbing but suggestive images for comprehending gendered social upheavals in the early twentieth century. At the same time, slapstick comediennes were crucial to the emergence of film language. Women’s flexible physicality offered filmmakers blank slates for experimenting with the visual and social potentials of cinema. Specters of Slapstick and Silent Film Comediennes poses major challenges to the foundations of our ideas about slapstick comedy and film history, showing how this combustible genre blows open age-old debates about laughter, society, and gender politics.

Examines the social and historical significance of women’s contributions to American silent film comedy. For many people the term "silent comedy" conjures up images of Charlie Chaplin's Little Tramp, Buster Keaton's Stoneface, or Harold Lloyd hanging precariously from the side of a skyscraper. Even people who have never seen a silent film can recognize these comedians at a glance. But what about the female comedians? Gale Henry, Louise Fazenda, Colleen Moore, Constance Talmadge—these and numerous others were wildly popular during the silent film era, appearing in countless motion pictures and earning top salaries, and yet their names have been almost entirely forgotten. As a consequence, recovering their history is all the more compelling given that they laid the foundation for generations of funny women, from Lucille Ball to Carol Burnett to Tina Fey. These women constitute an essential and neglected sector of film history, reflecting a turning point in women's social and political history. Their talent and brave spirit continues to be felt today, and Comic Venus: Women and Comedy in American Silent Film seeks to provide a better understanding of women's experiences in the early twentieth century and to better understand and appreciate the unruly and boundary-breaking women who have followed. The diversity and breadth of archival materials explored in Comic Venus illuminate the social and historical period of comediennes and silent film. In four sections, Kristen Anderson Wagner enumerates the relationship between women and comedy, beginning with the question of why historically women weren't seen as funny or couldn't possibly be funny in the public and male eye, a question that persists even today. Wagner delves into the idea of women's "delicate sensibilities," which presumably prevented them from being funny, and in chapter two traces ideas about feminine beauty and what a woman should express versus what these comedic women did express, as Wagner notes, "comediennes challenged the assumption that beauty was a fundamental component of ideal femininity." In chapter three, Wagner discusses how comediennes such as Clara Bow, Marie Dressler, and Colleen Moore used humor to gain recognition and power through performances of sexuality and desire. Women comedians presented "sexuality as fun and playful, suggesting that personal relationships could be fluid rather than stable." Chapter four examines silent comediennes' relationships to the modern world and argues that these women exemplified modernity and new womanhood. The final chapter of Comic Venus brings readers to understand comediennes and their impact on silent-era cinema, as well as their lasting influence on later generations of funny women. Comic Venus is the first book to explore the overlooked contributions made by comediennes in American silent film. Those with an interest in film and representations of femininity in comedy will be fascinated by the analytical connections and thoroughly researched histories of these women and their groundbreaking movements in comedy and stage.

It wasn't until the 10th century that women were allowed to perform, and then only in rare incidences. Like many art forms, female comedy got its start in the church and expanded to stage, radio, film, and television. For the longest time, it has been believed that women aren't funny. The stories within these pages will not only debunk that myth but will make you wonder how it ever got started in the first place. Women of all races have not only taken center stage in comedy, but in many cases, have dominated it. This book thoroughly explores the genre. Comediennes: Laugh Be a Lady chronicles the evolution of the humor through the research of Darryl and Tuezdae Littleton and the scores of interviews they conducted with veteran female performers from all mediums, as well as Tuezdae's own experiences as a comedienne. Startling facts are revealed and tributes are paid to the icons of yesteryear by the titans of today in their own words and sentiments. Women have always made us laugh, from their outrageous characters, pratfall humor, cutting barbs, clever wit and unforgettable side-splitting moments. Their “herstory” has only just begun.

"The Comedienne" by Władysław Stanisław Reymont draws on the author's own experiences as an actor in a struggling provincial theatre at the turn of the century. Reymont tells the story of a young provincial Janina, the titular comédienne who joins a Warsaw theatre company and struggles toward what was then a very modern notion of personal freedom at the time of its publication.

Wicked funny and hella gay, it’s time for Taylor Parker to come outabout a lot of things. Taylor Parker has always been a funny girl—but when she is accepted as a finalist for a diverse writers’ internship at Saturday Night Live, it turns her life upside down. If she wants a shot at winning in a little more than a month, Taylor will have to come out about both of her secrets: She wants to be a comedian . . . and she’s a lesbian. With a mom who gave up a career in comedy to raise her, and a comedian dad who left for a younger woman, working in comedy is a sore subject in Taylor’s house. To keep her secret under wraps, she sneaks out to do improv and hides her sketches under the bed, and to distract from her anxiety about the competition, Taylor frequents Salem’s Museum of Witchcraft to pine for Abigail Williams from the back row. It’s at the Museum of Witchcraft where Taylor falls deeper in love with the girl who plays Abigail Williams—Charlotte Grey, an out and proud lesbian at Nathaniel Hawthorne High. Charlotte radiates so much confidence in her acting and queerness that Taylor can’t resist her. So when Charlotte reaches out for help on a school project, Taylor readily agrees. As they spend more time together, Taylor sees what living her truth and pursuing her dreams could bring her, but Charlotte can’t understand why someone as funny as Taylor wouldn’t go all out to make the most of her opportunities. To live up to her own comedy dreams and become the person she wants to be, Taylor will have to find the confidence to tell everyone exactly who she is and what she wants.

Kohen assembles America's most prominent comediennes to piece together an oral history about the revolution that happened to (and by) women in American comedy.

First Published in 1997. Routledge is an imprint of Taylor & Francis, an informa company.