Abstract
This essay examines performance artist Lois Weaver's solo show “Faith and Dancing: Mapping Femininity and Other Natural Disasters” as an example of the lesbian femme's ability to drag and resist heteronormative femininity via queer desire. Weaver's performance is contextualized within her longstanding collaborative work in Split Britches theater company to reveal and trouble the femme's “dilemma” of invisibility without the butch (Peggy Shaw) by her side. Weaver's solo work demonstrates that the femme can be a viable and resistant representational position with or without the butch. Referencing femininity while suggesting other possibilities, Weaver achieves a uniquely resistant “femme(nini)tease.”
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