Abstract
This thesis proposes a radical connection between femininity and orality across a range of disciplinary fields. In particular it proposes the term 'os-text' to describe the relationship between writing and speaking one's own text in performance. This term takes in the meanings of the uttering mouth (the ’os'), the kissing of text into performance (osculation), and the oscillation between writing and speaking. The thesis involves critical writing, performative writing, poetic text, a CD-ROM (mouthplace), an audio CD (snow ghosts) and video documentation of a dance theatre production (The Secret Project). This multi-disciplinary submission uses different critical and artistic discourses to argue and perform the os-text and the relationship between femininity and orality. The CD-ROM mouthplace performs the relationship between femininity and orality as theme, through my own os-textual performance practice. The proposal of the os-text is developed in the written thesis as a model for transgressive performance practice. It does so through my own os-textual performance work, and through analysis of the os-textual practice of Karen Finley, Rose English and Laurie Anderson. The important differences between os-textual practice in live and recorded media are problematised here. In relation to new technologies, I refine the os-text through a further term in relation to voice - the 'loa'. I suggest that voice in relation to new technologies can elaborate transgression in os-textual practice, even when the medium is not live. The broader connections between femininity and orality are examined in the use of food in women's performance, and in the visual field in photography and painting. My original contributions to knowledge are (i) the category of the os-text, (ii) the original art practice (iii) the particular combination of critical and performative writing within the body of the written thesis.