Rights statement: http://journals.cambridge.org/action/displayJournal?jid=NTQ The final, definitive version of this article has been published in the Journal, New Theatre Quarterly 16 (1), pp 17-25 2000, © 2000 Cambridge University Press.
Final published version, 1.64 MB, PDF document
Research output: Contribution to Journal/Magazine › Journal article › peer-review
| <mark>Journal publication date</mark> | 02/2000 |
|---|---|
| <mark>Journal</mark> | New Theatre Quarterly |
| Issue number | 1 |
| Volume | 16 |
| Number of pages | 9 |
| Pages (from-to) | 17-25 |
| Publication Status | Published |
| <mark>Original language</mark> | English |
In an earlier issue of New Theatre Quarterly, NTQ55 (August 1998), Marcia Blumberg examined the setting of the kitchen in performances by Bobby Baker and Jeanne Goosen, arguing for the 'transitional and transgressive' possibilities of this domesticum-performance space. Here, Elaine Aston returns to the 'kitchen' in Bobby Baker's performances of 'daily life.' The article examines Baker's 'language' of food which 'speaks' of domesticity, and her conjunction of comic playing and the hysterical marking of the body, to show how her performance work constitutes an angry, feminist protest at the lack of social transformation in women's lives.