Abstract
Many were stunned when they heard the news that iconic American actor James Gandolfini had suffered a fatal heart attack. Within hours of the announcement, some who had worked with him were tweeting to express sadness and their regard for him as a performer and colleague, but other anonymous or noncelebrity tweeters took the opportunity to crack a joke at the expense of his fat appearance or even suggest that he deserved to die because he was fat. One remarked, “People say they are shocked by the death of James Gandolfini. Really? Do they think enormous fat men live forever?” Another tweeted: “James Gandolfini died because he was fat and unhealthy. End of Story.” Another quipped (referencing Gandolfini’s Emmy-winning portrayal of the mafia character Tony Soprano on HBO’s series The Sopranos), “For James Gandolfini I propose not a minute of silence but a minute of strained heavy breathing, followed by some cannoli.”1
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Notes
Elin Diamond, Unmaking Mimesis (New York: Routledge, 1997), 4.
Edward Albee, Who’s Afraid of Virginia Woolf? (New York: Signet Books, 1963).
Here I will engage with Eric Lott’s Love and Theft: Blackface Minstrelsy and the American Working Class (New York: Oxford University Press, 1995) and discuss the ways in which Alley’s performance is a kind of “fat-face” minstrel show where the performer eventually gets to remove the mask and even capitalize on being the privileged “other.”
For example, Judith Butler, Gender Trouble: Feminism and the Subversion of Identity (London: Routledge, 1993).
Peggy Phelan, Unmarked: The Politics of Performance (London: Routledge, 1993).
Anthony Kubiak, Agitated States: Performance in the American Theater of Cruelty (Ann Arbor, MI: University of Michigan Press, 2002), 22.
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© 2014 Jennifer-Scott Mobley
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Mobley, JS. (2014). Introduction. In: Female Bodies on the American Stage. Palgrave Macmillan, New York. https://doi.org/10.1057/9781137428943_1
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DOI: https://doi.org/10.1057/9781137428943_1
Publisher Name: Palgrave Macmillan, New York
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