having maintained a theater space for women's artistic endeavors. Geraldine Harris has placed the work of the troupe in a "postmodern Brechtian tradition", and in an article on this troupe, describes the focus in their work on borders, as they often take on ideas of duality. With concepts of butch/femme highlighted in their work, as are concepts around class, classism, and oppression. Harris also explains that the troupe opposes the gender binary as a mode of political performance. Split Britches also examines the fetishization, objectification, and narcissistic misidentifications that cannot be separated from love, passion, and desire. The shows are often praised for the deconstructive and transformative lenses through which they are written. Split Britches' work comes from a tradition of performance art that is documented academically by the field of performance studies. Their work is cited as indicative of lesbian art which brings up issues of subjectivity. It has been central to the development of feminist performance theory and distinguishing lesbian critical theory, for example in the pioneering work of Jill Dolan on the feminist spectator, Sue-Ellen Case on butch/femme aesthetics and Alisa Solomon and Kate Davy on feminist performance contexts. Methodology In a dissertation by Deanna Beth Shoemaker, Split Britches was said to use games, fantasies, songs, dance numbers, and monologues to address issues including female desire, power, and lesbian identity. The characters in the performances play on gender and sexuality binaries, and explore issues of lesbian femme identity within and without the butch/femme dynamic. The company begin by exploring a personal obsession or frustration, like Tennessee Williams or Aileen Wuornos, which is often take from popular culture. Shaw has said this is because through popular images they are able to maintain a queer aesthetic while keeping an audience engaged. Weaver and Shaw always try to make reference to a comedy duo from the 1950s or 1960s, which is often Mike Nicols and Elaine May, due to their comedic structure and gender dynamics. Next the company make lists, including a list of things they want to do on stage, current social issues, cultural icons, and stories they want to tell. They then choose characters that are split between good qualities and bad qualities, which Weaver has said is "like loving a part of yourself and your past". Despite playing characters, Weaver and Shaw say they always play themselves, including personal stories and anecdotes. Weaver has said "In the