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Copyright by Deanna Beth Shoemaker 2004 The Dissertation Committee for Deanna Beth Shoemaker certifies that this is the approved version of the following dissertation: QUEERS, MONSTERS, DRAG QUEENS, AND WHITENESS: UNRULY FEMININITIES IN WOMEN’S STAGED PERFORMANCES Committee: Joni Jones, Supervisor Jill Dolan Mary Kearney Lynn Miller Stacy Wolf QUEERS, MONSTERS, DRAG QUEENS, AND WHITENESS: UNRULY FEMININITIES IN WOMEN’S STAGED PERFORMANCES by Deanna Beth Shoemaker, M.A., B.F.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin In Partial Fulfillment Of the Requirements For the Degree of Doctor of Philosophy The University of Texas at Austin May 2004 Acknowledgments While this study bears my name only, it reflects the generous support, inspiration, and patience of many others. First, I give my heartfelt thanks to my dissertation support group, my dear friends and colleagues Tessa Carr and Elizabeth Lee Brown, who spent hours reading and rereading this document over the last several years and who consistently offered invaluable insights, challenges, and enthusiasm when I needed it most Because my son was born early in the dissertation process, I owe huge thanks to many friends and family members for their excellent and loving childcare: my “lifesaver” playgroup moms Susana, Eileen, Maraba, and Kimberley; Catherine Berry, Jennifer Haley, Monika Bustamante, Jessica Hedrick, Jenny and Renna Larson, Elizabeth Lee Brown, Alisha Lenning, my neighbor Juanita Monaghan, Sarah Andre, Tom Selsley and Betsy Haude in North Carolina, my mother-in-law Pat Hunt, and most of all, my amazing mother and my persevering partner Stephen Hunt, also a wonderful father. I was deeply honored to work with such a supportive and highly esteemed committee. To Jill Dolan, Mary Kearney, Lynn Miller, and Stacy Wolf: your passion for teaching feminist theory and performance in the classroom and beyond will continue to inspire me for years to come. To my advisor, Joni Jones, who has mentored and inspired me for so long and who first introduced me to performance studies: your dedication, care, intellectual rigor, and vibrant presence have taught me iv what it means to be an unruly scholar, performer, and activist. I will treasure your friendship and profound influence always. Thanks to the artists in this study who took time to talk with me and who inspired me to return again and again to their courageous and important work. I want to acknowledge as well past student colleagues and professors in Communication Studies at the University of Texas at Austin who have greatly contributed to my development as a scholar: Dr. Paul Gray, Dr. Ron Greene, Dr. Dana Cloud, Dr. Marla Morton Brown, Dr. Stacy Holman Jones, Dr. Heather Carver, and Dr. Claire Van Ens. A fond thanks goes out to Deanna Matthews, Margaret Surratt, Jennifer Betancourt, and Susan Corbin, wonderful women who do so many things for so many people in the department. Finally, this work would not have been possible without the years of nurturance I received from all the women in my family, especially my mother, Linda Shoemaker, and my “Granny,” Vivian Gaston. You each attended all those talent shows, baseball games, dance recitals, plays, graduation ceremonies, and various other rites of passage, and your unflagging support of me provided a foundation for seeing this journey through and continues to give me strength. To Steve, thank you for hanging in there, even when it seemed unbearable and never-ending. I only hope I can honor and support your heart’s deepest dreams as you have mine. To my sweet, clever, beautiful son, Aaron Blue Hunt, your dimpled smile, goofy sense of humor, and unconditional love inspired me to keep typing away so I could spend more v magical time with you. You are a wonder to me, and you remind me of all the hope and love that is possible in this world. vi QUEERS, MONSTERS, DRAG QUEENS, AND WHITENESS: UNRULY FEMININITIES IN WOMEN’S STAGED PERFORMANCES Publication No. Deanna Beth Shoemaker, Ph.D. The University of Texas at Austin, 2004 Supervisor: Joni L. Jones This dissertation investigates how women’s staged performances of “unruly femininities” potentially subvert normative understandings of gender and transform systems of representation. I define femininity as a complex, historically shifting, and heteronormative construct both reinforced and perpetuated by dominant discourses and resisted by different women in distinct ways. Thus, “unruly femininities” reflects critical re-stagings of femininity that ultimately break its internal “rules.” The performances examined here foreground a potentially scandalous use of the female voice and body to violate and/or parody heterosexual norms of femininity and masculinity. I focus on women’s self-representations within the public and often contentious realms of feminist theater and women’s performance. My field of study is limited to contemporary women’s performances on traditional theater stages, in popular music, and in the field of visual art in North America. Specifically, I analyze vii a production of Paula Vogel’s play Desdemona: A Play About a Handkerchief, Lois Weaver’s performances both within Split Britches’s show Belle Reprieve and in her solo show Faith and Dancing: Mapping Femininity and Other Natural Disasters, Jacqueline Lawton’s solo performance series “Venus Stands Sublimely Nude,” Patty Chang’s photographic sculptures, Deborah Vasquez’s comic strip character “Citlali La Chicana Superhero,” and Leslie Mah’s performance within the queercore all- female band “Tribe 8.” Reading Elin Diamond’s theory of feminist mimesis in relationship to Brechtian feminist performances of female spectacle and white heterofemininity, queer female-to-femme drag, and stagings of melancholic abjection and “macha femme” menace by women of color, I consider how these performances variously disrupt, deconstruct and transform representations of gender in feminist ways. Differences across race, class, sexuality, and age significantly shape performers’ strategies and issues of audience reception. I argue that while women who use their bodies and voices as vehicles of public protest are often at risk of being “punished” in various ways, they also demonstrate the disruptive power of the unruly woman within systems of representation. viii Table of Contents Chapter 1: Discourses of Femininity, Female Unruliness, and Feminist Performance................................................................................................1 Discourses of Femininity as Performance of “Woman” .........................................7 Female Unruliness and Women’s Staged Performances: Spectacular, Queer, Grotesque, Mimetic Revolts Against Femininity ...................................... 22 Acknowledgements and Contributions to the Field of Performance Studies ......... 28 The Study: Overview, Method, and Organization ................................................ 36 Chapter 2: Staging Spectacles of White Femininity in Desdemona: A Play About a Handkerchief (A Feminist Mimesis).......................................................... 43 “Nice Girls”: Policing Norms of Femininity ........................................................ 45 “Making a Spectacle” (Breaking the Rules)......................................................... 47 Female Spectacle and Brechtian Feminist Mimesis.............................................. 50 Desdemona: A Play About a Handkerchief (An Experiment in Brechtian Feminist Performance Practices).......................................................... 52 Othello’s Absence as Presence: Racism and Whiteness in Desdemona ................ 75 Reception of Feminist Performance Practices ...................................................... 85 Chapter 3: Women Disguised as Women: The Unruly “Femme(nini)tease” of Lois Weaver’s Female-to-Femme Drag.............................................................. 92 “What a Drag!” (Defining Female-to-Femme Drag) ........................................... 95 Camping It Up: Drag’s Ability to “Break the Copy” of Femininity .................. 98 Distinguishing Drag From Masquerade.......................................................... 100 The Femme’s Tease Within the Butch-Femme System...................................... 103 Split Britches’ Hokey Pokey: Serious Hocus Pocus .......................................... 107 Lois Weaver’s Resistant (White) Femme........................................................... 111 The “Dynamic Duo” Splits Up (The Femme’s In/visibility).............................. 118 Stripping the Drag: The Femme’s Dyslexic Tease in Faith and Dancing (Mapping Femininity and Other Natural Disasters) ........................... 125 Reception Issues................................................................................................ 138 Chapter 4: Women of Color Performing Melancholic Abjection: A Grotesque Mimesis of Femininity...................................................................... 141 “Venus Stands Sublimely Nude: It’s the Covering Up That Gets To Me” .......... 149 The Female Grotesque and Abject Black Femininity ......................................... 152 “I’m Sorry” - The Melancholy of Lawton’s “Colored” Abjection...................... 159 Racial Stereotypes and Female Abjection .......................................................... 162 Patty Chang’s Grotesque Mimesis of Feminized Asian Stereotypes................... 169 Racing the Drag as Colonial Mimesis...............................................................
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