Sally’s Rape

Sally’s Rape

Synopsis

“Sally’s Rape is a social experiment in which Robbie McCauley, an African-American female performance artist, performs the black female subject out of victimization. Like any social or theatrical experiment, the results are rather inconceivable to gauge. However, according to my own reception, and that of other spectators, my evaluation is optimistic. McCauley’s contribution to the emerging black female theatrical subject is her development of an anti-racist, heuristic performance mode(1). She inherits a tradition of black performance which is both politically and mimetically sophisticated, expanding it to express the often obscured experience of gender. McCauley’s performance experiments demonstrate a black female subject bearing witness to the confluent demons of racism and sexism in representation as well as in everyday life. In this essay, I will explicate McCauley’s key heuristic tools-revision, embodiment, and dialogue-in the per formance text of Sally’s Rape.”   http://www.academicroom.com/article/sallys-rape-robbie-mccauleys-survival-art.

From there, it played at BACA in Brooklyn, The Kitchen, and City College-Davis Center in Manhattan. In 1992 it received an OBlE Award for Best Play. McCauley took the piece on the road to the Boston Women’s Festival and the American Festival Project in Louisville, and on a tour of the Southwest, in 1993. Segments of the performance have also been featured in two film documentaries on women performers: Sphinxes

Collaborators

The Stories Exchange Project

Jeannie Hutchins

Performances

1989, Premiere, at PS 122 in New York City.

1990, The Studio Museum of Harlem (The Decade Show Performance Series: Robbie McCauley with Jeannie Hutchins

(Robbie McCauley and Jeannie Hutchins performance organized in conjunction “The Decade Show: Frameworks of Identity in the 1980s,” an exhibition co-organized by the New Museum, the Museum of Contemporary Hispanic Art, and the Studio Museum in Harlem. The performance was presented at the Dance Theater Workshop, Bessie Schonberg Theater.)
1989-94
  • BACA Downtown, Brooklyn
  • Crossroads, New Jersey
  • Institute of Contemporary Arts, London
  • Labyrinth et al, Prague, Czech Republic (in collaboration with The Stories Exchange Project)
  • Penumbra Theater Company, MN
  • Serious Fun, Lincoln Center
  • Sushi, San Diego

1994, Prague ( simultaneous interpretation in Czech by Hana Syslova, produced by the Fund for New Performance/Video)

  • Zizkov Theater
  • Studio Labyrinth
  • National Theater (Divadlo Kolowrat).

Media

1995, Sally’s Rape Video – Context Studios

The Decade Show Performance Series: Robbie McCauley with Jeannie Hutchins (1990)

Publications

1999, http://www.academicroom.com/article/sallys-rape-robbie-mccauleys-survival-art

 

Appears in

Moon Marked and Touched by Sun: Plays by African-American Notes Women.

Black Theatre U.S.A.: Plays by African Americans, The Recent Period, 1935-Today, rev. ed., eds. James Hatch and Ted Shine (New York: Free P, 1996), 368-75.

Analyzed in

Diamond; Patraka; Schneider; and Whyte.

From there, it played at BACA in Brooklyn, The Kitchen, and City College-Davis Center in Manhattan. In 1992 it received an OBlE Award for Best Play. McCauley took the piece on the road to the Boston Women’s Festival and the American Festival Project in Louisville, and on a tour of the Southwest, in 1993. Segments of the performance have also been featured in two film documentaries on women performers: Sphinxes

Sally’s Rape: Robbie Mccauley’s Survival Art

Without Secrets by Maria Beatty and Conjure Women by Demetria Royals. For the most complete listing on McCauley’s compositions and performances, see Patraka’s “Performance Production History” (52-53).