“Let’s start with the word ‘vagina”, begins Eve Ensler’s play, “‘The Vagina Monologues;’ “it sounds like an infection at best, a medical instrument maybe.”
Originally created as a celebration of vaginas and sexual empowerment, “The Vagina Monologues” has become a widespread art movement about ending sexual violence against women.
As a part of part of the global grassroots V-Day campaign [9], benefit performances of TVM are put on globally by volunteer organizations that aren’t limited to colleges and universities. Since its first groundbreaking performance in 1996, the play has been translated into 46 languages and is performed in over 140 countries. The play is based on Ensler’s interviews about sexuality, social stigma, and violence.
At Syracuse University the play is put on annually by SASSE [10], or the Student Association for Sexual Safety and Empowerment. Faculty and staff audition for monologues in November to perform the second week of February in Hendricks Chapel.
The proceeds from SU’s production go to Vera House [11], a Syracuse advocacy organization and shelter that provides a home, health and legal support to any man, woman, or child who fears for his or her life due to an abusive relationship.
The monologues that make up TVM are personal, funny, emotional, and provocative. Each one shares womens’ stories of sexual violence, repression, exploration and understanding their sexualities. The personal and compelling nature of the performance of the monologues creates a bonding experience for both the performers and the audience. “This is not only real, but you feel something”, says Stephanie Cuevas, former director of two years. “We are all affected by this, we all have a piece in this”.
She and fellow Vagina Monologues co-director Eliana Gross came back to Syracuse this year to see this year’s performance. This is common for former directors, they said. “We always come back to see the shows, even though we’ve graduated,” Cuevas said. Eliana Gross said, “it makes a family.”
Each cast brings their own flavor to the performance. This year’s performance, directed by Queen Chambliss and Laura Hollahan, was spunky, provocative, and intense. The tremendous commitment and dedication of both directors and actresses came through, leaving the audience cheering. On the way out of the Chapel, one woman said, “everyone needs to see this at least once in their lives.”
