Mouthpiece

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Norah Sadava. Mouthpiece

An Introduction

A Note from the Creators

Performance History

Notes on Performance. Movement

Music

Performance Style

Characters

Setting

Scene 1: The Morning

Scene 2: How To Speak

Scene 3: Morning Ritual

Scene 4: Auntie’s Message

Scene 5: Getting Dressed

Scene 6: Barbara and Amanda Messages

Scene 7: Eulogy One

Scene 8: The Bay

Scene 9: A Mother’s Voice

Scene 10: Nadia’s Message

Scene 11: Funeral Home

Scene 12: Second Speech

Scene 13: The Power of the Voice

Scene 14: The Street

Scene 15: The Bar

Scene 16: The Florist

Scene 17: Roxanne Message

Scene 18: Mom’s House

Scene 19: Third Speech

Scene 20: Fight/Final Speech

Acknowledgments

Norah Sadava

Amy Nostbakken

Отрывок из книги

For Janis and Anne

There’s nothing more challenging for a vintage feminist today than to convey the kind of constraints we endured before the so-called Second Wave of feminism came along. The passively accepted tyranny of girldom and boydom that regulated every minute detail of life: only girls had flowers on their birthday cake (flowers were feminine); only boys played sports in any organized way; only boys took second helpings and only boys were comfortable in their own skins. As teenagers, we went along with the choking conformity of clothing; we completely accepted rape jokes and the necessity for girls to laugh merrily at them. We girls inhaled division and restriction with every breath and had no more thought of rejecting sexism than of rejecting breathing itself. Our main task was to be pretty and to attract boys; if that same prettiness and attraction led to our deflowering and hence pregnancy, we might as well kill ourselves, so profound was the social humiliation. Of course, we were also despised as ‘cockteasers’ and accused of leaving boys with the dreaded ‘blue balls’ if we protected our sacred virginity. Double bind? It was our daily life.

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CANOE Festival, Edmonton, February 4–6, 2016

Undercurrents Festival, Ottawa, February 10–13, 2016

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