This paper examines Caryl Churchill`s feminist politics manifested in her 1985 play, A Mouthful of Birds. In this work, Churchill demonstrates a strong postmodern impulse not only in her revision of historical materials like The Bacchae and the biography of Herculine Barbin but also in her practice of Irigarayan mimicry. Churchill`s theater in the 1980s has consistently shown the political significance of decentering unitary notions of identities like gender, race, and sexuality. In this regard, one particular theoretical strand in poststructuralist feminist discourse, Judith Butler`s "performativity," which has recently enjoyed wide currency in performance studies, proves useful in discussing Churchill`s feminist politics. Churchill`s major plays, including Cloud Nine and Top Girls, represent gender identities as performative, as effects of the compulsory repetition of gender norms, thus deconstructing their ontological claim to essence and truth. In A Mouthful of Birds, Churchill takes this deconstructive stance one step further as she seeks to proffer possibilities for rerouting the disciplinary performative structure to a liberating performance of desires that have been excluded and rendered invisible in the existing power structure. Collaborating with Lan, an anthropologist, Churchill achieves in this play a unique combination of Butler`s regulatory performativity and the transgressive performance conceptualized by Richard Schechner and Victor Turner, and suggests that the regulatory regime can be effectively resisted by performances of a variety of hidden desires that are released during possessions by spirits. Characters` possession performances mimic the performative structure, but they effect changes in the social structure as well as individual identities. Thus, Churchill`s writing presents itself as a feminist performance that repeats the socio-historical context in order to re-formulate it.