Stunt (pronounced stuhnt)
(1) To stop, slow down, or hinder the growth or development of; dwarf; arrested development.
(2) In botanical pathology, a disease of plants, characterized by a dwarfing or stunting of the plant.
(3) A performance displaying a person's skill or dexterity, as in athletics; feat.
(4) Any remarkable feat performed chiefly to attract attention.
1575-1585: From the dialectal stunt (stubborn, dwarfed), from the Middle English stont & stunt (short, brief), from the Old English stunt (stupid, foolish, simple (as in stuntspræc "foolish talk")), from the Proto-Germanic stuntaz (short, compact, stupid, dull). It was cognate with the Middle High German stunz (short, blunt, stumpy) from the Proto-Germanic stuntaz (short, truncated), and the Old Norse stuttr (short in stature, dwarfed). It was related also to the Old English styntan (to make dull, stupefy, become dull, repress).
The origin of the noun use of stunt is obscure although all agree it’s of US origin circa 1878 and some sources suggest it was originally college sports slang though without evidence of youthful coinage. Links have been suggested to the Middle Low German stunt (a shoulder grip with which you throw someone on their back), a variant of the colloquial stump (dare, challenge) (1871), the German stunde (literally "hour") and the Middle English stunt (foolish; stupid) but no documentary evidence exists. The noun in this sense certainly caught on, applied particularly to aerobatic display by aircraft and gained a new life when Youtube and its imitators provided a platform. Stunt historically was a verb, the familiar noun a later form, the earlier noun was stuntedness, the adverb is stuntingly and the adjectives stunty & stunted.
The most physically demanding (and dangerous) part of Lindsay Lohan’s impressive leap into a Triumph TR4 in Irish Wish was undertaken by a body double (the young lady in this case deserving the “stunt-double” title).
Lindsay Lohan's Netflix movie Irish Wish (2024) was said by Irish reviewers to be "a mix of Leap Year meets Just My Luck meets Freaky Friday in which Lohan stars as quiet book editor Maddie Kelly, who embarks on a journey to find love by learning to love herself first." Like Irish Wish, Leap Year (2010) was filmed in Ireland but unlike 2010, 2024 was a leap year. IMCDB’s (Internet Movie Cars Database) comprehensive site confirmed the Triumph TR4 was registered in Ireland (ZV5660, VIN:STC65CT17130C) as running the 2.1 litre version (17130C) of the engine. The Triumph 2.1 is sometimes listed as a 2.2 because, despite an actual displacement of 2138 cm3; in some places the math orthodoxy is ignored and a "round up" rule applied, something done usually in jurisdictions which use displacement-based taxation or registration regimes, the "rounding up" sometimes having the effect of "pushing" a vehicle into a category which attracts a higher rate. Those buying a TR4 for use in competitions with a 2.0 litre limit could specify the smaller unit from the factory but being based on a tractor engine (!) and thus fitted with wet-cylinder liners, “sleeving” a 2.1 back to 2.0 wasn’t difficult. The lack of the "IRS" (independent rear suspension) badge on the trunk (boot) lid indicates the use of the live rear axle and that detail was of no significance in the plot although, given the leap scene, a convertible of some sort would have been required. Although on the road the IRS delivered a smoother ride, those using TR4s in competition usually preferred the live rear-axle because it made the car easier to steer “with the throttle”.
Lindsay Lohan's (left) stunt double in Falling for Christmas (2022) was needed for the skiing scenes, the role taken by Rian Zetzer (b 1996, right), a Salt Lake City-based former competitive mogul skier and sponsored free-skier.
In film & television production, the terms "stunt double" & "body double" are sometimes used interchangeably but by convention they describe different roles. The classic stunt double is engaged to perform those parts of the script which call upon an actor to do something especially physically demanding which typically requires special skills and may involve some risk; there there has been an injury toll among stunt doubles with deaths are not unknown. The term body double is usually used of those engaged (1) to appear in scenes in which an actor wishes not to appear (such as those involving nudity) or (2) to permit something to be filmed which would otherwise defy the laws of nature (such as an actor having a conversation with themselves). Advances in technology mean the laws of nature now are little obstacle to the impossible being depicted but many actors still have "no-nudity" clauses in contracts although the profession is now much concerned the combination of digital editing and artificial intelligence (AI) will soon render even all this obsolete. Actually, at the technical level, flesh & blood actors might soon be (and technically, partially already are) obsolete but their hope is audiences will continue to demand real people playing the parts. Time will tell but it's of note the actors, screen-writers and such who are protesting about "machines taking their jobs", have for decades contentedly been paying lower prices for cars, computers and many other products assembled substantially by the robots which displaced the people once employed to do the job.
The Cunning Stunts (1977-1982)
Feminist theatre, although with identifiable roots in the Weimar Republic (Germany: 1918-1933), came to be recognized, theorized, and practiced during the 1970s in the wake of second-wave feminism. Although it encompassed diverse theatrical work, it’s always been most associated with the overtly political, a movement motivated by the recognition of and resistance to women’s marginalization within social and cultural systems that reinforce male privilege and dominance. In this it acted out a resistance to mainstream, male-dominated theatre culture and revived long-neglected works and performances by women from the dramatic texts of Hrotsvitha (circa 935–973), plays by Restoration playwrights such as Aphra Behn (1640–1689), Mary Pix (1666–1709) & Susanna Centlivre (circa 1669-1723) and dramas by the Edwardian activists most interested in suffrage, Elizabeth Baker (1876–1962), Cicely Mary Hamilton (1872–1952), Elizabeth Robins (1862–1952), & Katherine Githa Sowerby (1876–1970).
What emerged from the second wave came largely to be defined by three types of feminism: bourgeois/liberal, radical/cultural & socialist/materialist. Critics treated the three in a hierarchical construct of respectability, bourgeois/liberal feminism treated as politically the weakest given it neither endorsed radical feminism’s desire to overthrow patriarchy in favor of women’s social, cultural and sexual empowerment, nor advocated the radical transformation of society’s economic, political and social structures as socialist/materialist feminism did. Each dynamic had its aesthetic counterpart: bourgeois/liberal feminism remained attached to conventional realistic forms, but sought a greater role for women within the confines of traditional dramatic writing; radical/cultural feminism, heavily influenced by French theorists, explored a women’s language; socialist/materialist feminism found its aesthetic in the Brechtian legacies of presentational forms, techniques and performance registers.
In this milieu, the debut in London in 1977 of the feminist performance collective Cunning Stunts was unexpected. Neither overtly nor even identifiably political, they were something of a reaction to feminist theatre itself, the members noting feminist “alternative theatre” had become elitist and they wanted a more accessible and spontaneous performer’s platform rather than a writer’s or director’s theatre, one which not only displayed the absurdity of male behavior but presented women being funny, flouting the prevailing glamorous image of women as entertainers. The shows were musical, visual, highly energetic and existed mostly to offer fun rather than any political or cultural critique although later productions, such as Opera, said to use their “…versions of archetypal symbols and mythological characters drawn from astrology, matriarchal societies… to express the experiences of living as wimin (sic) in a male strangulated world” did suggest other agendas remained of interest.
Suffering the internal conflicts perhaps endemic to collectives, the Cunning Stunts dissolved in 1982, having seemingly worked their concept dry. In the UK, much alternative theatre didn’t survive the 1980s, the administration of Margaret Thatcher (1925–2013; UK prime-minister 1979-1990) dismantling many of the often left-wing local authorities which had provided a substantial proportion of the funding.
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