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Plot summarySpoiler warning: Plot and/or ending details follow.
The Vagina Monologues is made up of a varying number of monologues read by a varying number of women (initially, Eve Ensler performed every monologue herself, with subsequent performances featuring three actresses, and more recent versions featuring a different actress for every role). Every monologue somehow relates to the vagina, be it through sex, love, rape, menstruation, mutilation, masturbation, birth, orgasm, the variety of names for the vagina, or simply as a physical aspect of the female body. A recurring theme throughout the piece is the vagina as a tool of female empowerment, and the ultimate embodiment of individuality. Some monologues include:
Spoilers end here.
HistoryEve Ensler wrote the first draft of the monologues in 1996 (there have been several revisions since) following interviews she conducted with 200 women about their views on sex, relationships, and violence against women. The interviews began as casual conversations with her friends, who then brought up anecdotes they themselves had been told by other friends; this began a continuing chain of referrals. In an interview with women.com, Ensler said that her fascination with vaginas began because of "growing up in a violent society." [1] "Women's empowerment is deeply connected to their sexuality." She also stated, "I'm obsessed with women being violated and raped, and with incest. All of these things are deeply connected to our vaginas." Ensler wrote the piece to "celebrate the vagina," which is described in one monologue as being superior to the penis because it contains the clitoris, which the monologues describe as the only body part in existence that has the sole purpose of giving pleasure. Ensler sees the vagina as being a tool of empowerment through which women can achieve total femininity and individuality. She claims inspiration for the piece came from Tina Turner: "I love Tina Turner. She's a woman who fully inhabits her vagina." [2] Ensler states that in 1998, the purpose of the piece changed from a celebration of vaginas and femininity to a movement to stop violence against women. The play first opened at HERE Arts Center in New York City on October 3, 1996 with a limited run than ran through November. The play gained popularity through a word of mouth campaign that culminated with a performance at Madison Square Garden in 2001, which featured Melissa Etheridge and Whoopi Goldberg performing segments of the play. V-Day
Image:LogoblackbackVDAY.gif V-Day logo.
In 2007, more than 3000 V-Day events took place in 1150 colleges and communities in the U.S. and around the world. To date, the V-Day movement has raised over $40 million and educated millions about the issue of violence against women and the efforts to end it, crafted international educational, media and PSA campaigns, launched the Karama program in the Middle East, reopened shelters, and funded over 5000 community-based anti-violence programs and safe houses in Kenya, South Dakota, Egypt and Iraq. On February 21. 2004, Eve Ensler in conjunction with Jane Fonda and Deep Stealth Productions produced and directed a new series of transgender monologues read by eighteen notable trans women, which documented the experiences of Transgender persons. It debuted in connection with "LA V-DAY until the Violence Stops" with moving monologues documenting the violence against Transgenders. The dialogue entitled "They Beat the Girl out of my Boy or so They Tried" was most moving and representative. Since that debut the Women's' Centers of many universities and colleges have added these three TG monologues to the original production. It is called The Transgender Vagina Monologues and may still be produced with permission except at Catholic Colleges. Camille Paglia has criticized V-Day as "turning Valentine's Day, the one holiday celebrating romantic harmony between the sexes, into a grisly memento mori of violence against women". [3] Criticism of The Vagina MonologuesFeminist criticismThe Vagina Monologues has been criticized by a number of people in the pro-sex feminist, gender egalitarian, and individualist feminist movements. Pro-sex feminist Betty Dodson, author of several books about female sexuality, saw the play as having a negative and restrictive view of sexuality and an anti-male bias [4]. She called the play a blast of hatred at men and heterosexuality. Individualist feminist Wendy McElroy shared many of Dodson's views [5] [6]. Elements of the play critics find contentious include:
Social conservative criticismThe play has also been criticized by social conservatives, such as the American Society for the Defense of Tradition, Family and Property. The TFP denounced it as "a piece replete with sexual encounters, lust, graphic descriptions of masturbation and lesbian behavior" [7], urging students and parents to protest. As a result of TFP protests, performances were canceled at sixteen Catholic colleges. Recently, Saint Louis University made the decision not to endorse the 2007 production, claiming the yearly event was getting to be "redundant." The response of the university's student-led feminist organization was to continue the production at an off-campus location. The Case of Robert SwopeIn 2000, Robert Swope, a conservative contributor to the Georgetown university newspaper, The Hoya, wrote an article critical of the play. He pointed out the contradiction between V-Day promoting awareness of rape, while using the scene "The Little Coochie Snorcher That Could", where a young woman describes a "good rape" by an older woman. Outcry from the play's supporters resulted in Swope's being fired from the staff of the Hoya, before the piece was even run. Swope had previously criticized the play in an article he wrote entitled "Georgetown Women's Center: Indispensable Asset or Improper Expenditure?". His termination received editorial coverage in The Wall Street Journal, Salon.com, National Review, The Atlantic Monthly, The Washington Times, and the Weekly Standard. [8] The Hoohaa BrouhahaIn February 2007, a comedy club owner of the Atlantic Theatres in Atlantic Beach, Florida changed the title to the "Hoohaa Monologues" after a complaint from a passing driver who became upset because her niece had seen "vagina" on the theater marquee. The word "vagina" was only restored by the theater owner once the producer of the event made it clear that rights to the play were granted only if the production was not subject to censorship. [9] [10] John Jay High School, NYIn March 2007 at an open-mike night at John Jay High School in Cross River, New York, three female students reading from The Vagina Monologues used the line: "My short skirt is a liberation flag in the women's army. I declare these streets, any streets, my vagina's country." The female students were subsequently suspended for one day. The suspension was on hold while the school's policies were reviewed, as a student who used the word "fuck" at the same event was not suspended.[11] The suspension was eventually rescinded. [12] U.S. PerformancesThe Vagina Monologues is performed annually to bring attention to V-Day in thousands of cities and colleges. Student involvement and awareness are key to making this a success. The performances generally benefit rape crisis centers and similar resource centers for women. Actresses who have performed the play include: Canadian PerformancesActresses:
Note: A production in Ottawa in 2006 included Senators Lillian Dyck and Nancy Ruth in the cast. Performances in Other CountriesThe Vagina Monologues has been performed in 120 countries.[citation needed] Some details below: Albania
Actresses:
BrazilActresses
ColombiaDirector: Fanny Mikey Actresses:
EcuadorActresses:
FranceActresses:
Hong Kongsee www.perrychiu.com GermanyBerlin (Adriana Altaras):Hannelore Elsner, Katja Riemann, Ulrike Folkerts, Esther Schweins, Iris Berben, Sonja Kirchberger. Trier (Fiona Lorenz): [15] HungaryActresses:
Note: It has been playing in Hungary since 2002 by two different troupes, one in the capital, Budapest in the "Thalia Theatre", and the other troupe travelling the country. IndiaThe Vagina Monologues has been playing in India since 2003 and is produced by Poor-box productions. It has been given an Indian twist with a story about an elderly Parsi woman and a young Maharashtrian woman. It was banned in the South-Indian city of Chennai in 2004. The play may be translated into Hindi and performed in January 2007. Actresses:
IndonesiaThe Vagina Monologues was translated into Indonesian by Gracia D. Adiningsih and was adapted by Jajang C. Noer and Nursyahbani Katjasungkana, who is also an MP in Indonesia. The Monologue was performed for the first time in Indonesia on March 8, 2002 in Jakarta, as part of the Women's Day celebration. It was staged at the Taman Ismail Marzuki, Jakarta Cultural Center. Some performers were having doubt about the performance because the theme might be considered taboo and sensitive by some people in that country. The performance was repeated in Yogyakarta on March 31-April 1 2004 and at the Cultural Center of Bengkulu, Sumatra on August 19, 2004. ActressesThe Vagina Monologues was performed by Indonesian actresses such as Sarah Azharai, Niniek L. Karim, Devi Permatasari, Cindy Fatika, Eno Lerian, Rima Melati, Jajang C. Noer, Nursyahbani Katjasungkana, Ratna Riantiarno, Ria Irawan Wulan Guritno, Rachel Maryam, Cornelia Agatha, etc. IsraelThe Vagina Monologues were performed in English in Jerusalem, Israel by the Hebrew Union College-Jewish Institute of Religion as a benefit for The Jerusalem Rape Crisis Center. Performed in English, these have occurred as part of V-Day events at least since 2005. JapanActresses: KenyaActresses:
MexicoThe Vagina Monologues in Mexico opened on October 19, 2000, and in October 26, 2006 it celebrated its 3,600th performance. It is the only theatrical event in Mexico, which constantly presents 10 performances a week in Mexico City, on top of the touring versions reaching almost a hundred towns in the country. Its five venues in the capital have been: Nuevo Teatro Sala Chopin; Teatro Gran Meliá; Teatro del Hotel NH; Centro Cultural San Ángel; and Nuevo Teatro del Hotel NH. The producers are OCESA Teatro and Morris Gilbert, and has been translated into Spanish by Susana Moscatel and Erick Merino. Director: Abby Epstein Actresses:
Note: Since it opened, over 60 women: actors, communicators, singers, sexologists, journalists, dancers, political and social activists have performed in the Mexican production. NigeriaDirector: Ifeoma Fafunwa Actresses:
RussiaDirector: Joel Lehtonen Actresses: ScotlandSouth KoreaActress: References
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