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 (dē-zœz′, də-)
1. A woman who is a skilled and usually professional storyteller, poet, or other spoken-word performer.
2. A female singer whose performance of song lyrics is especially expressive.

[French, feminine of diseur, monologuist; see diseur.]


(French dizœz)
(Theatre) (esp formerly) an actress who presents dramatic recitals, usually sung accompanied by music. Male counterpart: diseur
[C19: from French, feminine of diseur speaker, from dire to speak, from Latin dīcere]
References in periodicals archive ?
I saw little amusement in using that poignantly beautiful song"I Believe", (sung by the diseuse in Coward's operetta: "Bitter Sweet")as a backup tune for a glum, deeply unfunny, burlesque duo.
According to Park, the title Dura "itself is a tribute to the labors of Dictee's diseuse [sic]; the title word itself returns us to a crucial opening in Dictee: 'She makes complete her duration' (28)" (2006, 243).
Hence, as a gendered adjective, "dura" may suggest "a revision of Cha's gendered diseuse [sic] in Kim's text: the quality of hardness that had been assigned to the stones in Dictee may here be applied to the heroine herself" (Park 2006, 243).
As long as this diseuse was on stage she was non-human; she was, if you like, a china image.
In her career as diseuse before gay audiences what occurs is precisely the opposite and is now truly postmodern: the distinction between artificial performance and authentic expression collapses and becomes immaterial.
So on one day I was a dancer and on the next day a singer or diseuse.
Significantly enough, Dictee is also a latter-day Catalogue of Women, since the text is more than anything else a gallery of the portraits of women: a diseuse, Yu Guan Soon, Queen Min, Jeanne d'Arc, St.
Whereas Hesiod is a supreme diseur in the proem of the Theogony, Cha's diseuse struggles even to articulate herself in "Diseuse.
A case in point is the story of the diseuse in a Catholic church.
This emphasis on text to the near exclusion of performance is unfortunate because the unnotated performance practices of cabaret diseuses would seem to be an important type of translation that both forms a context for Schoenberg's Pierrot and completes the cycle of translations offered by this volume: from theater to literature; from French to German; from literature to composition; from composition to musical performance.