Staging Queer Feminisms, Contemporary Performance Interactions, DOI 10.1057/978-1-137-46543-6 236 BIBLIOGRAPHY

BIBLIOGRAPHY

Ahmed, Sara (2004) The Cultural Politics of Emotion. Edinburgh: Edinburgh University Press. Albrechtsen, Janet (2010) ‘Let’s be Honest About Julia’s Free Gender Leg-Up’. The Australian, 28 July. Allen, Robert C. (1991) Horrible Prettiness: Burlesque and American Culture. Chapel Hill: University of North Carolina Press. Altman, Jon and Melinda Hinkson, eds. (2007) Coercive Reconciliation: Stabilise, Normalise, Exit Aboriginal Australia. North Carlton, Victoria: Arena Publications. ——— (2010) Culture Crisis: Anthropology and Politics in Aboriginal Australia. Sydney: University of New South Wales Press. Anderson, Pat and Rex Wild (2007) ‘Ampe Akelyernemane Meke Mekarle – Little Children Are Sacred’. Report of the Northern Territory Board of Inquiry into the Protection of Aboriginal Children from Sexual Abuse. Northern Territory Government. http://www.inquirysaac.nt.gov.au/pdf/bipacsa_ﬁnal_report. pdf. Archer, Robyn (2013) ‘Culture and Contact: Europe, Australia and the Arts’. ANU Centre for European Studies Brieﬁng Paper Series, (Vol. 4, No. 8). Canberra, ACT: Australian National University. Arts Queensland (2016) ‘Hot Brown Honey’. http://www.arts.qld.gov.au/case- studies/5984-hot-brown-honey. Aston, Elaine and Geraldine Harris (2013) A Good Night Out for the Girls: Popular Feminisms in Contemporary Theatre and Performance. Basingstoke: Palgrave Macmillan. Auslander, Philip (1999) Liveness: Performance in a Mediatized Culture. Oxon and New York: Routledge.

——— (2005) ‘After Liveness: An E-Interview’. Performance Paradigm,1, 93–101. Babcock, Keiryn (1997) ‘“Pleasure, Danger and Genderfucking” An Interview with Moira Finucane’. Australasian Drama Studies, 31, 22–32. Bakhtin, Mikhail M. (1984) Rabelais and his World. Trans. Hélène Iswolsky. Bloomington: Indiana University Press. ——— (1994) Problems of Dostoevsky’s Poetics. Trans. Caryl Emerson. Minneapolis: University of Minnesota Press. Baylis, Troy-Anthony (2014) ‘The Art of Seeing Aboriginal Australia’s Queer Potential’. The Conversation. http://theconversation.com/the-art-of-seeing- aboriginal-australias-queer-potential-25588. BC Institute (2016a) ‘About BC Institute’. Art Space. https://www.artspace.org. au/program/studios/2016/bc-institute/. BC Institute (2016b) Email correspondence with the artists, 29 July. Beauvoir, Simone de (1953 [1949]) The Second Sex. Trans. H. M. Parshley. London: Cape. Berger, Anne-Emmanuelle (2014) The Queer Turn in Feminism: Identities, Sexualities and the Theatre of Gender. Trans. Catherine Porter. New York: Fordham University Press. Berlant, Lauren (2008) The Female Complaint: The Unﬁnished Business of Sentimentality in American Culture. Durham: Duke University Press. Bernstein, Robin (2012) ‘Toward the Integration of Theatre History and Affect Studies: Shame and the Rude Mechs’s The Method Gun’. Theatre Journal, 64:2, 213–230. Bhabha, Homi K. (1994) ‘The Other Question: Stereotype, Discrimination and the Discourse of Colonialism’.InThe Location of Culture. London and New York: Routledge, pp. 94–120. Blake, Elissa (2015) ‘Nakkiah Lui’s Kill the Messenger exposes truths about racism’. The Sydney Morning Herald, 30 January. http://www.smh.com.au/ entertainment/theatre/nakkiah-luis-kill-the-messenger-exposes-truths-about- racism-20150126-12yi4q.html. Bollen, Jonathan, Adrian Kiernander and Bruce Parr (2008) Men at Play: Masculinities in Australian Theatre Since the 1950s. Amsterdam and New York: Rodopi. Bond, Chelsea (2014) ‘Black Comedy: The ABC Makes a Bold Foray into Race Relations’. The Conversation. http://theconversation.com/black-comedy-the- abc-makes-a-bold-foray-into-race-relations-33744. Boucher, Georgie and Sarah French (2011) ‘Postfeminist Pleasure and Politics: Moira Finucane and The Burlesque Hour’. Australasian Drama Studies, 58, 193–211. Boyd, Chris (2013) ‘Southern Sense and Sexuality’. The Australian,12 November. BIBLIOGRAPHY 237

Brabon, Benjamin A. and Stéphanie Genz (2007) Postfeminist Gothic: Critical Interventions in Contemporary Culture. Baskingstoke: Palgrave Macmillan. Braidotti, Rosi (1991) Patterns of Dissonance. Oxford: Polity Press. ——— (2005) ‘A Critical Cartography of Feminist Post-postmodernism’. Australian Feminist Studies, 20:47, 169–180. Brandis, Senator George (2010) ABC Radio. Brooks, Ann (1997) Postfeminisms: Feminism, Cultural Theory and Cultural Forms. London and New York: Routledge. Brown Council (2014) ‘This is Brown Council’. Website. http://browncouncil. com/. Bush, Constantina and Kaboobie (2012) ‘Blak Queens Talking: It’s a Drag Thing’. Real Time, 111, Oct-Nov, 13. Butler, Judith (1994) ‘Against Proper Objects’. Differences: A Journal of Feminist Cultural Studies, 6:2/3, 1–26. ——— (1998) ‘Afterword’. In Sally Munt, ed., Butch/Femme: Inside Lesbian Gender. London and Washington: Cassell, pp. 225–230. ——— (2006 [1990]) Gender Trouble. New York and London: Routledge. ——— (2011 [1993]) Bodies that Matter. London and New York: Routledge. Cahir, Fred (2012) Black Gold: Aboriginal People of the Goldﬁelds of Victoria, 1950–1870. Acton, A.C.T: ANU E Press. Campbell, Alyson (2012) ‘Adapting Musicology’s Use of Affect Theories to Contemporary Theatre-Making: Directing Martin Crimp’s Attempts on Her Life’. Journal of Adaptation in Film and Performance, 4:3, 303–318. ——— and Stephen Farrier (2015) Queer Dramaturgies: International Perspectives on Where Performance Leads Queer. Basingstoke: Palgrave Macmillan. Case, Sue-Ellen (1988–89) ‘Towards a Butch-Femme Aesthetic’. Discourse, 11:1, 55–73. ——— (2002) ‘The Emperor’s New Clothes: The Naked Body and Theories of Performance’. SubStance # 98/99, 31:2/3, 186–200. ——— (2009) Feminist and Queer Performance: Critical Strategies. London: Palgrave Macmillan. Casey, Maryrose (2004) Creating Frames: Contemporary Indigenous Theatre 1967–1990. St. Lucia, Queensland: University of Queensland Press. ——— (2013) ‘Changing Boundaries: Indigenous Theatre Practitioners in the 2000s’. In Richard Fotheringham and James Smith, eds., Catching Australian Theatre in the 2000s. Amsterdam and New York: Rodopi, pp. 99–122. Clark, Ian D. (2007) ‘Another Side of Eureka – the Aboriginal Presence on the Ballarat Goldﬁelds in 1854 – Were Aboriginal People Involved in the Eureka Rebellion?’ Working Paper 2005/2007, University of Ballarat. http://www. hereticpress.com/Dogstar/History/Bentley/2005-07.pdf. Clough, Patricia Ticineto with Jean Halley (2007) The Affective Turn: Theorizing the Social. Durham: Duke University Press. 238 BIBLIOGRAPHY

Connell, Raewyn (2014) ‘Feminist Scholarship and the Public Realm in Postcolonial Australia’. Australian Feminist Studies, 29:8, 215–230. Creed, Barbara (1993) The Monstrous-Feminine: Film, Feminism, Psychoanalysis. London and New York: Routledge. ——— (1995) ‘Horror and the Carnivalesque: The Body-monstrous’. In Leslie Devereaux and Roger Hillman, eds., Fields of Vision: Essays in Film Studies, Visual Anthropology, and Photography. Berkeley, Los Angeles and London: University of California Press. Croggon, Alison (2010) ‘Review: Triple Bill of Wild Delight, Little Mercy’. Theatre Notes, 21 March. http://theatrenotes.blogspot.com.au/2010/03/review-tri ple-bill-of-wild-delight.html. ——— (2012) ‘Review: Summertime in the Garden of Eden, And the Birds Fell from the Sky, The Wild Duck’. Theatre Notes, 7 March. http://theatrenotes. blogspot.com.au/2012/03/review-summertime-in-garden-of-eden-and. html. ——— (2013a) ‘Neon Festival is the Most Important Initiative in Melbourne Theatre This Year’. ABC Arts Blog, 16 July. http://www.abc.net.au/arts/ blog/Alison-Croggon/Neon-Festival-Melbournes-best-theatre-130716/ default.html. ——— (2013b) ‘Summertime in the Garden of Eden, Sisters Grimm – Review’. The Guardian, 11 November. https://www.theguardian.com/culture/austra lia-culture-blog/2013/nov/10/summertime-garden-eden-sisters-grimm- review. ——— (2016a) ‘Black Friday’. The Monthly: Australian Politics, Society and Culture,16May.https://www.themonthly.com.au/blog/alison-croggon/ 2016/16/2016/1463358684/black-friday. ——— (2016b) ‘The 70% Drop in Australia Council Grants for Individual Artists is Staggering’. The Guardian,19May.https://www.theguardian.com/culture/ 2016/may/19/the-70-drop-australia-council-grants-artists-funding-cuts. Curthoys, Ann (2010) ‘Feminist Scholarship Inside and Outside the Nation’. Feminist Review, 95, 127–131. Danow, David K. (1995) The Spirit of Carnival: Magical Realism and the Grotesque. Lexington: University Press of Kentucky. De Lauretis, Teresa (1988) ‘Sexual Indifference and Lesbian Representation’. Theatre Journal, 40:2, 155–177. ——— (1991) ‘Queer Theory: Lesbian and Gay Sexualities: An Introduction’. Differences: A Journal of Feminist Cultural Studies, 3:2, iiix – viii. Devitt, Rachel (2006) ‘Girl on Girl, Fat Femmes, Bio Queens and Redeﬁning Drag’. In Sheila Whiteley and Jennifer Rycenga, eds., Queering the Popular Pitch. New York: Routledge. Diamond, Elin (1996) Performance and Cultural Politics. London and New York: Routledge. BIBLIOGRAPHY 239

——— (1997) Unmaking Mimesis: Essays of Feminism and Theatre. London and New York: Routledge. ———, Denise Varney and Candice Amich, eds. (2017) Performance, Feminism and Affect in Neoliberal Times. Basingstoke: Palgrave Macmillan. Doane, Mary Ann (1991 [1982]) ‘Film and the Masquerade: Theorizing the Female Spectator’.InFemmes Fatales: Feminism, Film Theory, Psychoanalysis. New York: Routledge. Dolan, Jill (1985) ‘Gender Impersonation on Stage: Destroying or Maintaining the Mirror of Gender Roles?’ Women and Performance: A Journal of Feminist Theory,2,5–11. ——— (2005) Utopia in Performance: Finding Hope at the Theatre. Ann Arbor: University of Michigan Press. ——— (2010) Theatre and Sexuality. Houndmills and New York: Palgrave Macmillan. Duggan, Lisa and Kathleen McHugh (1996) ‘A Fem(me)inist Manifesto’. Women and Performance: A Journal of Feminist Theory, 8:2, 153–159. Dunne, Stephen (2008) ‘Quick and Dirty: A Mix of New and Veteran Performers Reconnect Mardi Gras to its Avant Garde’. The Sydney Morning Herald,19 February. http://www.smh.com.au/news/arts-reviews/quick–dirty/2008/ 02/19/1203190781805.html. Dworkin, Andrea (1974) Woman Hating. New York: E. P. Dutton. Dyer, Richard (1997) White. London and New York: Routledge. Eisner, Shiri (2013) BI: Notes for a Bisexual Revolution. Berkeley, California: Seal Press. Felski, Rita (2000) Doing Time: Feminist Theory and Postmodern Culture. New York and London: New York University Press. Fensham, Rachel (2001) ‘Farce or Failure? Feminist Tendencies in Mainstream Australian Theatre’. Theatre Research International, 26:1, 82–93. ——— and Denise Varney (2005) The Dolls’ Revolution: Australian Theatre and Cultural Imagination. Melbourne: Australian Scholarly Publishing. Finucane, Moira (2012) Interview, 9 October. Flanders, Ash and Declan Greene (2014) Interview, 2 September. Foucault, Michel (1988–1990, c 1985) The History of Sexuality. Trans. Robert Hurley. New York: Vintage. Freeman, Elizabeth (2010) Time Binds: Queer Temporalities, Queer Histories. Durham: Duke University Press. French, Sarah (2013) ‘Creating Cultural Heat in The Burlesque Hour: An Interview with Moira Finucane’. Australasian Drama Studies, 61, 121–127. ——— (2015a) ‘The Feminist Performance Art of Brown Council: An Interview with Diana Smith’. Double Dialogues, 17. http://www.doubledialogues.com/ article/the-feminist-performance-art-of-brown-council-an-interview-with- diana-smith/. 240 BIBLIOGRAPHY

——— (2015b) ‘Radical Adaptation: Hypertextuality, Feminism and Motherhood in The Rabble’s Frankenstein (after Mary Shelley)’. Australasian Drama Studies, 66, 81–108. ——— (2017) ‘Neoliberal Postfeminism, Neo-Burlesque, and the Politics of Affect in the Performances of Moira Finucane’. In Elin Diamond, Denise Varney and Candice Amich, eds., Performance, Feminism and Affect in Neoliberal Times. Basingstoke: Palgrave Macmillan. ——— and Georgie Boucher (2013) ‘Viewing The Burlesque Hour: The Pleasures of the Masochistic Gaze’. Australasian Drama Studies, 61, 6–23. Galewski, Elizabeth (2005) ‘Figuring the Feminist Femme’. Women’s Studies in Communication, 28:2, 183–206. ——— (2008) ‘“Playing Up Being a Woman”: Femme Performance and the Potential for Ironic Representation’. Rhetoric and Public Affairs,11:2, 279–302. Garber, Marjorie B. (1992) Vested Interests: Cross-Dressing and Cultural Anxiety. New York and London: Routledge. Garber, Linda (2001) Identity Poetics: Race, Class and the Lesbian-Feminist Roots of Queer Theory. New York: Columbia University Press. ——— (2006) ‘On the Evolution of Queer Studies: Lesbian Feminism, Queer Theory and Globalization’. In Diane Richardson, Janice McLaughlin and Mark E. Casey, eds., Intersections Between Feminist and Queer Theory. Basingstoke: Palgrave Macmillan, pp. 78–96. Genette, Gérard (1997 [1982]) Palimpsests: Literature in the Second Degree. Trans. Channa Newman & Claude Doubinsky. Lincoln and London: University of Nebraska Press. Gilbert, Helen (1998a) Sightlines: Race, Gender and Nation in Contemporary Australian Theatre. Ann Arbor: University of Michigan Press. ——— (1998b) ‘Reconciliation? Aboriginality and Australian Theatre’.In Veronica Kelly, ed., Our Australian Theatre in the 1990s. Amsterdam: Rodopi, pp. 71–88. ——— and Jacqueline Lo (2007) Performance and Cosmopolitics: Cross- Cultural Transactions in Australasia. Basingstoke and New York: Palgrave Macmillan. Gill, Rosalind (2007) ‘Critical Respect: The Difﬁculties and Dilemmas of Agency and “Choice” for Feminism: A Reply to Duits and Van Zoonen’. European Journal of Women’s Studies, 14:1, 69–80. ——— (2008) ‘Culture and Subjectivity in Neoliberal and Postfeminist Times’. Subjectivity, 25, 432–445. ——— and Christina Scharff (2011) New Femininities: Postfeminism, Neoliberalism and Subjectivity. Basingstoke: Palgrave Macmillan. Glow, Hilary (2006) ‘Recent Indigenous Theatre in Australia: the Politics of Autobiography’. International Journal of the Humanities, 4:1, 71–77. BIBLIOGRAPHY 241

Goldberg, RoseLee (2011) Performance Art: From Futurism to the Present. London and New York: Thames and Hudson. Goodman, D. (2003) ‘Eureka Stockade’. In Gaeme Davison, John Hirst and Stuard Mcintyre, eds., The Oxford Companion to Australian History. Online: Oxford University Press. Gregg, Melissa and Gregory J. Seigworth (2010) The Affect Theory Reader. Durham: Duke University Press. Grehan, Helena (2009) Performance, Ethics and Spectatorship in a Global Age. Basingstoke: Palgrave Macmillan. ——— (2010) ‘Aboriginal Performance: Politics, Empathy and the Question of Reciprocity’. Australasian Drama Studies, 56, 38–52. Grifﬁn, Susan (1982) ‘Sadomasochism and the Erosion of Self: A Critical Reading of Story of O’. In Robin Ruth Linden et al., eds., Against Sadomasochism: A Radical Feminist Analysis. California: Frog in the Well, pp. 184–201. Grifﬁths, Jane Montgomery (2015) ‘The Monster Under the Bed: Acting and Trauma in the Rabble’s Story of O and Frankenstein’. About Performance, 13, 173–196. Grills, Eloise (2014) ‘Olympia Bukkakis’. Grilling Me Softly, 25 March. http:// grillingmesoftly.net/2014/03/25/olympia-bukkakis/. Grosz, Elizabeth (1994) Volatile Bodies: Toward a Corporeal Feminism. NSW, Australia: Allen and Unwin. Gruber, Fiona (2013) ‘50 Shades of Feminism’. The Sydney Morning Herald, 1 June. http://www.smh.com.au/national/50-shades-of-feminism- 20130531-2nh97.html. Halberstam, Judith (1998a) ‘Between Butches’. In Sally Munt, ed., Butch/Femme: Inside Lesbian Gender. London and Washington: Cassell, pp. 57–66. ——— (1998b) Female Masculinity. Durham, NC: Duke University Press. ——— (2005) In a Queer Time and Place: Transgender Bodies, Subcultural Lives. New York: New York University Press. ——— (2006) ‘What’s That Smell? Queer Temporalities and Subcultural Lives’. In Sheila Whiteley and Jennifer Rycenga, eds., Queering the Popular Pitch. New York and London: Routledge, pp. 3–25. Hall, Stuart (1980 [1973]) ‘Encoding/Decoding’. In Stuart Hall et al., eds., Culture, Media, Language: Working Papers in Cultural Studies, 1972–79. London: Hutchinson, pp. 128–138. Halperin, David M. (1995) Saint Foucault: Towards a Gay Hagiography. New York: Oxford University Press. Harris, John (1993) ‘Losing and Gaining a Langauge: The Story of Kriol in the Northern Territory’. In Michael Walsh and Colin Yallop, eds., Language and Culture in Aboriginal Australia. Canberra, ACT: Aboriginal Studies Press, pp. 145–154. Harris, Geraldine (1999) Staging Femininities: Performance and Performativity. Manchester and New York: Manchester University Press. 242 BIBLIOGRAPHY

Hekman, Susan (1990) Gender and Knowledge: Elements of a Postmodern Feminism Oxford: Polity. Heller, Meredith (2015) ‘Female-Femmeing: A Gender-Bent Performance Practice’. QED: A Journal in GLBTQ Worldmaking, 2:3, 1–23. Helt, Brenda S. (2010) ‘Passionate Debates on “Odious Subjects”: Bisexuality and Woolf’s Opposition to Theories of Androgyny and Sexual Identity’. Twentieth- Century Literature, 56:2, 131–167. Hemmings, Clare (1998) ‘Waiting for No Man: Bisexual Femme Subjectivity and Cultural Repudiation’. In Sally Munt ed., Butch/Femme: Inside Lesbian Gender. London and Washington: Cassell, pp. 90–100. ——— (2005a) ‘Telling Feminist Stories’. Feminist Theory, 6:2, 115–139. ——— (2005b) ‘Invoking Affect’. Cultural Studies, 19:5, 548–567. Henry, Astrid (2004) Not My Mother’s Sister: Generational Conﬂict and Third- Wave Feminism. Bloomington: Indiana University Press. Hewett, Jennifer (2002) ‘The Mothers’ Club’. Sydney Morning Herald,7September. http://www.smh.com.au/articles/2002/09/06/1031115937062.html. Hogan, Jackie (2010) ‘Gendered and Racialised Discourses of National Identity in Baz Luhrmann’s Australia’. Journal of Australian Studies, 34:1, 63–77. Holledge, Julie and Joanne Tompkins (2000) Women’s Intercultural Performance. London and New York: Routledge. Homans, Margaret (1986) ‘Bearing Demons: Frankenstein’s Circumvention of the Maternal’.InBearing the Word: Language and Female Experience in Nineteenth-Century Women’s Writing. Chicago: University of Chicago Press, pp. 100–119. hooks, bell (1992) Black Looks: Race and Representation. Boston, MA: South End Press. Horowitz, Katie (2012) ‘The Trouble with “Queerness”:DragandtheMaking of Two Cultures’. Signs: Journal of Women in Culture and Society, 38:2, 303–326. Howard, Jane (2013) ‘Sydney Theatre 2014: Highlights of the New Season. Queer and Feminist Themes take Centre Stage in Exciting New Shows at Sydney Theatre Company, Belvoir and GrifﬁnTheatres’. The Guardian, 30 September. Huffer, Lynne (2010) Mad for Foucault: Rethinking the Foundations of Queer Theory. New York: Columbia University Press. ——— (2011) ‘Are the Lips a Grave?’ GLQ: A Journal of Lesbian and Gay Studies, 17:4, 517–542. Hutcheon, Linda (2006) A Theory of Adaptation. New York: Routledge. Ireland, J. (2016) ‘“The Responsible Thing”: Malcolm Turnbull Defends Safe Schools Review’. Sydney Morning Herald, 1 March. http://www.smh.com. au/federal-politics/political-news/the-responsible-thing-malcolm-turnbull- defends-safe-schools-review-20160301-gn7c65.html. Irigaray, Luce (1985) This Sex Which Is Not One. Trans. Catherine Porter. Ithaca: Cornell University Press. BIBLIOGRAPHY 243

Jagose, Annamarie (2009) ‘Feminism’s Queer Theory’. Feminism and Psychology, 19:2, 157–174. Jeffreys, Sheila (1981) ‘The Spinster and Her Enemies: Sexuality and the Last Wave of Feminism’. Scarlet Woman, 13 (Part 2), 22–27. ——— (2003) Unpacking Queer Politics: A Lesbian Feminist Perspective. Cambridge: Polity Press. Jenzen, Olu (2013) ‘Revolting Doubles: Radical Narcissism and the Trope of Lesbian Doppelgangers’. Journal of Lesbian Studies, 17, 344–364. Jones, Annamarie (1998) Body Art/Performing the Subject. Minneapolis: University of Minnesota Press. ——— and Andrew Stephenson, eds. (1999) Performing the Body/Performing the Text. London and New York: Routledge. Kennedy, Elizabeth Lapovsky (1997) ‘The Hidden Voice: Fems in the 1940s and 1950s’. In Laura Harris and Elizabeth Crocker, eds., Femme: Feminists, Lesbians and Bad Girls. New York and London: Routledge, pp. 15–39. Kiernander, Adrian, Jonathan Bollen and Bruce Parr, eds. (2006) What a Man’s Gotta Do? Masculinities in Performance. Armidale: Centre for Australian Language, Literature, Theatre and Screen Studies. King, Daniel (2010) ‘Constantina Bush: A Short Story of Indigenous Actor Kamahi King and His Relationship with His Alter Ego Constantina Bush’. https://www.youtube.com/watch?v=bjCKX9qoq2M. King, Kamahi Djordan (2014) ‘Constantina Bush and the Bushettes’. https:// www.youtube.com/watch?v=yeHCya3CuS4. ——— (2015) Interview, 27 February. Klich, Rosemary and Edward Scheer (2012) Multimedia Performance. Basingstoke and New York: Palgrave Macmillan. Korff, J (2015) ‘Aboriginal Identity: Who is “Aboriginal”?’ Creative Spirits. http://www.creativespirits.info/aboriginalculture/people/aboriginal-iden tity-who-is-aboriginal#axzz45TWnuUrd. ——— (2016) ‘Welcome to Country and Acknowledgement of Country’. Creative Spirits. http://www.creativespirits.info/aboriginalculture/spiritual ity/welcome-to-country-acknowledgement-of-country#axzz463MqcAtC. Kristeva, Julia (1982) Powers of Horror: An Essay on Abjection. New York: Columbia University Press. Kyi, Anna (2009) ‘“The Most Determined, Sustained Diggers’ Resistance Campaign”: Chinese Protests Against the Victorian Government’s Anti- Chinese Legislation 1855–1862ʹ. Provenance: The Journal of Public Record Ofﬁce Victoria,8.http://prov.vic.gov.au/publications/provenance/ provenance2009. Lally, Elaine with Sarah Miller (2012) ‘Women in Theatre: A Research Report and Action Plan for the Australian Council for the Arts’. Surry Hills, NSW: Australia Council. 244 BIBLIOGRAPHY

Langton, Marcia (1993) ‘“Well, I heard it on the Radio and I Saw it on the Television”: An Essay for the Australian Film Commission on the Politics and Aesthetics of Filmmaking by and about Aboriginal People and Things’. North Sydney, NSW: Australian Film Commission. ——— (2008) ‘Faraway Downs Fantasy Resonates Close to Home’. The Age,23 November. Latham, Mark (2011) ABC Radio. Lewis, Lee (2007) Cross-Racial Casting: Changing the Faces of Australian Theatre. Strawberry Hills, N.S.W.: Currency House. Lewis, Holly (2016) The Politics of Everybody: Feminist, Queer Theory, and Marxism at the Intersection. London: Zed Books. Loiselle, André (2012) ‘Cinéma du Grand Guignol: Theatricality in the Horror Film’. In André Loiselle and Jeremy Maron, eds., Stages of Reality: Theatricality in Cinema. Toronto: University of Toronto Press. Lloyd, Moya (1999) ‘Performativity, Parody, Politics’. Theory, Culture and Society, 16:2, 195–213. ——— (2007) Judith Butler: From Norms to Politics. Cambridge, UK; Malden MA: Polity. Lui, Nakkiah (2015) ‘It’s Not Racism That Australian Needs To Get Rid Of; It’s The Privilege Of Whiteness’. Junkee. http://junkee.com/nakkiah-lui-its-not- racism-that-australia-needs-to-get-rid-of-its-the-privilege-of-whiteness/58395. Macdonald, Ian (2016) ‘Official Status of Aboriginal and Torres Strait Islander Flags’. Flags of the World Website. http://www.crwflags.com/fotw/flags/au-ab_st. html. Macintyre, Stuart and Anna Clark (2004) The History Wars. Carlton: Melbourne University Press. MacKinnon, Catherine (1982) ‘Feminism, Marxism, Method and the State: An Agenda for Theory’. Signs: Journal of Women in Culture and Society, 7:3, 515–544. Maltry, Melanie and Kristin Tucker (2002) ‘Female Fem(me)ininities: New Articulations in Queer Gender Identities and Subversion’. Journal of Lesbian Studies, 6:2, 89–102. Marinucci, Mimi (2010) Feminism is Queer: The Intimate Connection Between Queer and Feminist Theory. London: Zed Books. Marsh, Anne (1993) Body and Self: Performance Art in Australia 1969–92. Oxford: Oxford University Press. Martin, Biddy (1996) ‘Sexualities Without Genders and Other Queer Utopias’.In Femininity Played Straight: The Significance of Being Lesbian. New York: Routledge, pp. 71–94. Massé, Michelle A. (1992) ‘Kissing the Rod: The Beaten and Story of O’.InIn the Name of Love: Women, Masochism, and the Gothic. Ithaca and London: Cornell University Press, pp. 107–146. BIBLIOGRAPHY 245

Massumi, Brian (1995) ‘The Autonomy of Affect’. Cultural Critique, 31, The Politics of Systems and Environments, Part II, Autumn, 83–109. ——— (2002) Parables for the Virtual: Movement, Affect, Sensation. Durham: Duke University Press. ——— (2015) Politics of Affect. Cambridge and Malden: Polity. McBean, Sam (2016) Feminism’s Queer Temporalities. New York: Routledge. McCallum, John (2009) Belonging: Australian Playwriting in the 20th Century. Sydney: Currency Press. McRobbie, Angela (2004) ‘Post-Feminism and Popular Culture’. Feminist Media Studies, 4:3, 255–263. ——— (2009) The Aftermath of Feminism: Gender, Culture and Social Change. London: Sage. Mellor, Aubrey (2013) ‘Adaptation Versus Interpretation is an Age-Old Issue’. Letter to the Editor, The Australian, 21 June. http://www.theaustralian.com. au/arts/review/adaptation-versus-interpretation-is-an-age-old-issue/story- fn9n8gph-1226667743600. Merrindahl, Andrew and Sarah Maddison (2010) ‘Damaged but Determined: The Australian Women’s Movement, 1996–2007’. Social Movement Studies, 9:2, 171–185. Meyer, Moe (1994) The Politics and Poetics of Camp. London and New York: Routledge. Meynell, Katherine (1998) ‘An Invisible History of Performance’. Make Magazine, 81, 10–12. Moers, Ellen (1977) Literary Women: The Great Writers. London: W.H. Allen. ——— (1979) ‘Female Gothic’. In George Levine and U. C. Knoepﬂmacher, eds., The Endurance of Frankenstein: Essays on Mary Shelley’sNovel. Berkeley, Los Angeles and London: University of California Press, pp. 77–87. Monchamp, Anne Marie (2014) Autobiographical Memory in an Aboriginal Australian Community: Culture, Place and Narrative. Basingstoke: Palgrave Macmillan. Moreton-Robinson, Aileen (2015) White Possessive: Property, Power, and Indigenous Sovereignty. Minnesota: University of Minnesota Press. Morgan, Joyce (2011) ‘A Hard Road from Page to Stage’. The Sydney Morning Herald, 8 January. http://www.smh.com.au/entertainment/theatre/a-hard- road-from-page-to-stage-20110107-19isb.html. Mulvey, Laura (1989) Visual and Other Pleasures. London: MacMillan. Muňoz, José Esteban (1999) Disidentiﬁcations: Queers of Colour and the Performance of Politics. Minneapolis: University of Minnesota Press. ——— (2000) ‘Feeling Brown: Ethnicity and Affect in Ricardo Brancho’s The Sweetest Hangover (and other STDs)’. Theatre Journal, 52:1, 67–79. 246 BIBLIOGRAPHY

Myers, Ralph (2013) ‘Theatre Debate is a Generational Battle for the Ages’. The Australian, 30 May. http://www.theaustralian.com.au/arts/theatre-debate- is-a-generational-battle-for-the-ages/story-e6frg8n6-1226653248888. Negra, Diane (2009) What a Girl Wants: Fantisising the Reclamation of Self in Postfeminism. London and New York: Routledge. Neill, Rosemary (2013a) ‘The Local Voices Being Swept Off The Stage’. The Australian,28May.http://www.theaustralian.com.au/arts/the-local- voices-being-swept-off-the-stage/story-e6frg8n6-1226651624628. ——— (2013b) ‘Theatre Directors are Hooked on Classics as the Adaptation Takes Over’. The Australian,25May.http://www.theaustralian.com.au/ arts/review/hooked-on-classics/story-fn9n8gph-1226648616479. Newton, Esther (2000) ‘Dick(less) Tracy and the Homecoming Queen: Lesbian Power and Representation in Gay Male Cherry Grove’.InMargaret Mead Made Me Gay: Personal Essays, Public Ideas. Durham: Duke University Press, pp. 63–89. Ngai, Mae M. (2011) ‘Chinese Miners, Headmen, and Protectors on the Victorian Goldﬁelds, 1853–1963’. Australian Historical Studies, 42, 10–24. Nicholson, Linda, ed. (1990). Feminism/Postmodernism. New York: Routledge. Noble, J.Bobby (2005) ‘Strange Sisters and Boy Kings: Post-Queer Tranz-Gendered Bodies in Performance’. Canadian Women’s Studies, 24:2/3, 164–170. Northover, Kylie (2016) ‘Melbourne International Comedy Festival: Hot Brown Honey a Mix of Politically-Infused Hip-Hop and Cabaret’. The Sydney Morning Herald, 4 April. Nussbaum, Marth C. (1999) ‘The Professor of Parody’. New Republic,220:8, 37–45. Parr, Bruce (1998) ‘From Gay and Lesbian to Queer Theatre’. In Veronica Kelly, ed., Our Australian Theatre in the 1990s. Amsterdam: Rodopi, pp. 89–103. Peluso, Natalie (2009) ‘Introducing High-Femme Drag: A Critical Discussion’. Paper presented at the American Sociological Association. http://citation. allacademic.com/meta/p_mla_apa_research_citation/3/0/9/6/4/ p309642_index.htm. Phelan, Peggy (1993a) ‘Crisscrossing Cultures’. In Lesley Ferris, ed., Crossing the Stage: Controversies on Cross-Dressing. London and New York: Routledge, pp. 155–170. ——— (1993b) Unmarked: The Politics of Performance. London and New York: Routledge. Quinchez, Emmanuel (2015) ‘Romeo Castellucci in 10 Highly-Charged Performances’. Opera de Paris, 26 October. https://www.operadeparis.fr/ en/magazine/romeo-castellucci-in-10-highly-charged-performances. Rae, Clare (2013) ‘Backﬂip: A Feminist Walked into a Bar ...’. Das Platforms/ Contemporary Art, 27, 60–6. BIBLIOGRAPHY 247

Rawlinson, Clare (2012) ‘Darwin Festival Review: Constantina Bush’. ABC Darwin. http://www.abc.net.au/local/stories/2012/08/22/3573420.htm. Réage, Pauline (2012) Story of O. London: Corgi Books. Reinelt, Janelle (2002) ‘The Politics of Discourse: Performativity Meets Theatricality’. SubStance # 98/99, 31:2/3, 201–215. Rhyne, Ragan (2004) ‘Racializing White Drag’. Journal of Homosexuality, 46:3/ 4, 181–194. Richardson, Diane (2006) ‘Bordering Theory’. In Diane Richardson, Janice McLaughlin and Mark E. Casey, eds., Intersections Between Feminist and Queer Theory. Basingstoke: Palgrave Macmillan, pp. 19–37. ———, Janice McLaughlin and Mark E. Casey, eds. (2006) Intersections Between Feminist and Queer Theory. Basingstoke: Palgrave Macmillan. Riviere, Joan (1929) ‘Womanliness as a Masquerade’. International Journal of Psychoanalysis, 10, 303–313. Robertson, Pamela (1996) Guilty Pleasures: Feminist Camp from Mae West to Madonna. Durham: Duke University Press. Ross, Annabel (2016) ‘Victorian arts organisations ‘heartbroken’ to miss out on Australia Council funding.’ The Age, 13 May. http://www.smh.com.au/enter tainment/victorian-arts-organisations-heartbroken-to-miss-out-on-australia- council-funding-20160513-gouofa.html Rothﬁeld, Philipa (2001) ‘Consumption a la Mode’. Realtime, 33. http://www. realtimearts.net/article/issue43/5866. Rowe, Kathleen (1995) The Unruly Woman: Gender and Genres of Laughter. Austin: University of Texas Press. Rowe, Alex (2013) ‘Anthony Mundine Slammed over Redfern Now Gay Rant’. The Sydney Morning Herald, 2 November. http://www.smh.com.au/entertain ment/tv-and-radio/anthony-mundine-slammed-over-redfern-now-gay-rant- 20131102-2wsy4.html. Rubin, Gayle (1984) ‘Thinking Sex: Notes for a Radical Theory of the Politics of Sexuality’. In Carole S. Vance, ed., Pleasure and Danger: Exploring Female Sexuality. Boston: Routledge and Kegan Paul, pp. 267–319. Russo, Mary (1995 [1986]) ‘Chapter 2. Female Grotesques: Carnival and Theory’.In TheFemaleGrotesque:Risk,ExcessandModernity.NewYork:Routledge,pp.53– 73. Said, Edward (1978) Orientalism. New York: Pantheon Books. Schacht, Steven P. (2001) ‘Turnabout: Gay Drag Queens and the Masculine Embodiment of the Feminine’. In Nancy Tuana, William Cowling and Maurice Harrington, eds., Revealing Male Bodies. Bloomington: Indiana University Press. ——— (2002) ‘Four Renditions of Doing Female Drag: Feminine Appearing Conceptual Variations of a Masculine Theme’. Gendered Sexualities,6, 157–180. 248 BIBLIOGRAPHY

Schafer, Kerrie and Laura Ginters (2001) ‘The More Things Change the More They Stay the Same ...’? Feminisms and Performance Studies’. Australasian Drama Studies, 39, 104–124. Schneider, Rebecca (1996) ‘After us the Savage Goddess: Feminist Performance Art of the Explicit Body Staged, Uneasily, Across Modernist Dreamscapes’.In Ein Diamond, ed., Performance and Cultural Politics. London and New York: Routledge, pp. 155–176. Sedgwick, Eve Kosofsky (1990). Epistemology of the Closet. Berkeley: University of California Press. ——— (1993) Tendencies. Durham: Duke University Press. ——— (2003) Touching, Feeling: Affect, Pedagogy, Performativity. Durham: Duke University Press. Shelley, Mary (2009 [1818]) Frankenstein. UK: Penguin. Showden, Carisa R. (2012) ‘Theorising Maybe: A Feminist/Queer Theory Convergence’. Feminist Theory, 13:1, 3–25. Shugart, Helene A. and Catherine Egley Waggoner (2008) Making Camp: Rhetorics of Transgression in U.S. Popular Culture. Tuscaloosa: University of Alabama Press. Sieg, Katrin (2002) Ethnic Drag: Performing Race, Nation, Sexuality in West Germany. Ann Arbor: The University of Michigan Press. Silverman, Kaja (1984) ‘Histoire d’O: The Construction of a Female Subject’.In Carole, S. Vance, ed., Pleasure and Danger: Exploring Female Sexuality. Boston, London, Melbourne and Henley: Routledge and Kegan Paul, pp. 320–349. Sisters Grimm (2017) Website. www.sistersgrimm.com.au. Smith, Diana (2013) Interview, 26 November. Sobchack, Vivian (2004) Carnal Thoughts: Embodiment and Moving Image Culture. California and London: University of California Press. Solomon, Alisa (1993) ‘It’s Never Too Late to Switch’. In Lesley Ferris, ed., Crossing the Stage: Controversies on Cross-Dressing. London and New York: Routledge, pp. 144–154. Sontag, Susan (1966) ‘Notes on Camp’.InAgainst Interpretation and Other Essays. New York and London: Anchor Books, pp. 275–292. ——— (1969) ‘The Pornographic Imagination’.InStyles of Radical Will. New York: Farrar, Straus and Giroux, pp. 35–73. Spivak, Gayatri Chakravorty (2003) ‘Frankenstein and Devi’s Pterodactyl’.In Andrew Smith and W. Hughes, eds., Empire and the Gothic: The Politics of Genre. Baskingstoke: Palgrave Macmillan, pp. 56–68. Springer, Kimberley (2005) ‘Strongblackwoman and Black Feminism: A Next Generation’.InJoReger,ed.,Different Wavelengths: Studies of the Contemporary Women’sMovement. New York and London: Routledge, pp. 3–21. BIBLIOGRAPHY 249

Stam, Robert (2000) ‘Beyond Fidelity: The Dialogics of Adaptation’.In James Naremore, ed., Film Adaptation. London: The Athlone Press, pp. 54–76. St. John, M. (2001) ‘“It Ain’t Fittin’” Cinematic and Fantasmatic Contours of Mammy in Gone with the Wind and Beyond’. Studies in Gender and Sexuality, 2:2, 129–162. Sullivan, Nikki (2003) ‘Performance, Performativity, Parody and Politics’.InA Critical Introduction to Queer Theory. Edinburgh: Edinburgh University Press, pp. 81–98. Summers, Anne (2003) The End of Equality: Work, Babies and Women’s Choices in 21st Century Australia. Milsons Point, N.S.W: Random House. Syron, Liza-Mare (2012) ‘Afterword’. In Maryrise Casey, ed., Telling Stories: Aboriginal Australian and Torres Straight Islander Performance. Kew: Australian Scholarly Publishing. Tait, Peta (1993) Original Women’s Theatre. Melbourne: Artmoves. ——— (1994) Converging Realities: Feminism in Australian Theatre. Sydney: Currency Press. ——— (1997) ‘Interpreting Bodily Functions in Queer Performance’. Australasian Drama Studies,31,48–56. ——— (1998a) ‘Feminism in Australian Theatre’. In Lizbeth Goodman and Jane De Gay, eds., The Routledge Reader in Gender and Performance. London and New York: Routledge, pp. 223–230. ——— (1998b) ‘Performing Sexed Bodies in Physical Theatre’. In Veronica Kelly, ed., Our Australian Theatre in the 1990s. Amsterdam: Rodopi, pp. 213–228. ——— and Elizabeth Schafer (1997) Australian Women’s Drama: Texts and Feminisms. Sydney: Currency Press. Tasker, Yvonne and Diane Negra, eds. (2007) Interrogating Postfeminism: Gender and the Politics of Popular Culture. Durham: Duke University Press. Thompson, James (2009) Performance Affects: Applied Theatre and the End of Effect. Basingstoke: Palgrave Macmillan. Thompson, Anne (2013) ‘Women + Performance 5: Confronting the Canon’. Realtime, 118, 16. http://www.realtimearts.net/article/issue118/11416. Thomson, Helen (1998) ‘Recent Australian Women’s Writing for the Stage’.In Veronica Kelly, ed., Our Australian Theatre in the 1990s. Amsterdam: Rodopi, pp. 104–116. Tomkins, Silvan (1962) Affect Imagery Consciousness – Vol. I: The Positive Affects. New York: Springer. ——— (1963) Affect Imagery Consciousness – Vol. II: The Negative Affects. New York: Springer. Tong, Rosemarie (1998) Feminist Thought: A More Comprehensive Introduction. Boulder, CO: Westview Press. 250 BIBLIOGRAPHY

Turney, Jon (1998) Frankenstein’s Footsteps: Science, Genetics and Popular Culture. New Haven: Yale University Press. Tyler, Carole-Anne (1991) ‘Boys will be Girls: The Politics of Gay Drag’. In Diana Fuss, ed., Inside/Out. London: Routledge, pp. 32–70. Tyler, Imogen (2005) ‘“Who Put the ‘Me’ in Feminism?”: The Sexual Politics of Narcissism’. Feminist Theory, 6:1, 25–44. ——— (2007) ‘From “The Me Decade” to “The Me Millennium”: The Cultural History of Narcissism’. International Journal of Cultural Studies, 10:3, 343–363. Valente, Emma (2013a) Director’s Notes to Story of O. ——— (2013b) Interview, 8 June. ——— (2014) Interview, 10 April. Varney, Denise (2005) ‘Grotesque Images and Sardonic Humour: Pain and Affect in German Drama’. Double Dialogues, 6, Winter. http://www.doubledialo gues.com/article/grotesque-images-and-sardonic-humour-pain-and-affect-in- german-drama/. ——— (2007) ‘Gestus, Affect and the Post-Semiotic in Contemporary Theatre’. The International Journal of the Arts in Society, 1:3, 113–120. ——— (2011) ‘New and Liquid Modernities in the Region of Australia: Reading Ngurrumilmarrmiriyu [Wrong Skin]’. Australasian Drama Studies, 58, 212–227. ——— (2012) ‘Identity Politics in an Australian Context’. Theatre Research International, 37:1, 71–73. Walsh, Fintan (2009) ‘Touching, Feeling, Cross-Dressing: On the Affectivity of Queer Performance. Or, What Makes Panti Fabulous’. In David Cregan, ed., Deviant Acts: Essays on Queer Performance,Dublin:CarysfortPress, pp. 55–71. ——— (2011) ‘From Enthusiasm to Encounter-Event: Bracha L. Ettinger, Samuel Beckett and the Theatre of Affect’. Parallax, 17:2, Apr-Jun, 110–123. Ward, Sarah (2015) Interview, 9 November. ——— (2016) Email correspondence, 27 June. Welton, Martin (2011) Feeling Theatre. Basingstoke: Palgrave Macmillan. Williams, Linda (1991) ‘Film Bodies: Gender, Genre and Excess’. Film Quarterly, 44:4, Summer, 2–13. Williams, Anne (2009) The Art of Darkness: A Poetics of Gothic. Chicago and London: The University of Chicago Press. Willson, Jacki (1998) The Happy Stripper: Pleasures and Politics of the New Burlesque. New York: I.B Tauris & Co. Withers, Deborah M. and Red Chidgey (2010) ‘Complicated Inheritance: Sistershow (1973–1974) and the Queering of Feminism’. Women: A Cultural Review, 21:3, 309–322. BIBLIOGRAPHY 251

Woodhead, Cameron (2013) ‘Radical Romp Smells of the Future’. The Age,15 July. http://www.smh.com.au/entertainment/theatre/radical-romp-smells- of-the-future-20130714-2pxyd.html. ——— (2015) ‘Questions of Gender Take Centre Stage in Melbourne Theatre Company’s New Neon Season’. Sydney Morning Herald, February 26. http:// www.smh.com.au/entertainment/theatre/questions-of-gender-take-centre- stage-in-melbourne-theatre-companys-new-neon-season-20150225-13o6e3. html. Woodruffe-Burton, Helen and Katie Ireland (2012) ‘Lived Consumer Bodies: Narcisssism, Bodily Discourse, and Women’s Pursuit of the Body Beautiful’. In Cele C. Otnes and Linda Tuncay Zayer, eds., Gender, Culture and Consumer Behaviours. Florence: Taylor and Francis, pp. 195–222. Woolf, Virginia (1993 [1928]) Orlando. London: Penguin Books. Woolf, Sharne (2016) ‘Six and a Half Questions/Brown Council’. 18 March. http://theartlife.com.au/2016/six-and-a-half-questions-brown-council/. Wright, Maryann (2015) ‘New Statistics Show Severe Lack of Gender Parity in Theatre and Screen’. Aussie Theatre, 22 October. http://aussietheatre.com.au/ news/new-statistics-show-severe-lack-of-gender-parity-in-theatre-and-screen. Zimmerman, Bonnie (1997) ‘“Confessions” of a Lesbian Feminist’. In Dana Heller, ed., Cross-purposes: Lesbians, Feminists and the Limits of Alliance. Bloomington: Indiana University Press. Ziv, Amalia (1994) ‘The Pervert’s Progress: An Analysis of “Story of O” and the Beauty Trilogy’. Feminist Review, 46:1, 61–75. INDEX

A Affective experience, 28, 32, 34, 41, Abbott, Tony, 5, 79, 224, 231 53, 205, 229 Abject and abjection, 31, 33, 41, 46, Agent Cleave, 30, 121, 124–126 48, 49, 58, 72, 166, 167, 192, Ahmed, Sara, 34 194, 216, 219, 224, 228 Archer, Robyn, 88 Kristeva’s theory of, 72 Auslander, Philip, 163, 164, 179 see also grotesque Australia Council grants, 231 Aboriginal Australia (film), 85, 116, 135, 138, artists and performers, 86, 87, 92 140, 143, 145, 146, 153–155 communities, 90, 99 Australian concepts of time, 153 flag, 93, 153, 155, 228 culture, 84, 91, 105 and masculinity, 135–136, 149 flag, 92–93, 106 myths of national identity, 116, 136, identity, 83, 109, 116, 150 137, 156 people, 85, 87, 91, 92, 97, Australian Performing Group, 7 99, 100, 101, 105, 107, 108, 112, 113, 135, 141–142, 146, 147, 150 see also Indigenous B Aboriginality, 84, 86, 98, 103, 108, Barbara Cleveland, 157–159, 177, 109, 148, 150 179–181, 183 Abortion, 213, 221, 224 Barret, Frances, 160 Adaptation, 4, 184, 185–224 Barthes, Roland, 188 in Australian theatre, 188 Baylis, Troy Anthony, 90–91 theories of, 188, 189, 192, 224 Beauvoir, Simone de, 21, 72 Affect, 28, 31–58, 127, 170, 179, 186, Becoming 200, 205, 225, 228–229, 231 Deleuze and Guatari’s theory in Theatre Studies scholarship, 37 of, 56 theories of, 34, 35, 37, 40 feminist theories of, 56

Belvoir Street Theatre, 7, 8, 27, 104, Butler, Judith, 14–18, 20–25, 29, 54, 119, 187, 193 69, 72, 116, 123, 126, 189, 197, Berger, Anne Emmanuelle, 198, 229 15, 19, 20 Berlant, Lauren, 34 Between the Cracks, 59–81 C Beyonce, 217 Cabaret, 1, 10, 12, 32, 38, 49, 59, Bhabha, Homi, 133–134 61–62, 71, 73, 87–89, 91, 96, Bisexuality, 69, 70, 189, 199 104, 113, 120, 225, 230 Black Comedy (TV series), 91, 98, 104 Camp, 25, 31, 43, 49–56, 67, 68, 71, Blackmore, Kate, 160 75, 94, 115, 117, 127, 139, 143, Black Swan, 88 155, 229 Blak Cabaret, 83–114, politics of, 54–55, 115, 117, 127 145, 230 Campbell, Alyson, 13, 37 Bodies that Matter (Butler), 16, 23, 24 Capsis, Paul, 12, 30, 33, 119 Body/bodies Carnivalesque, 49–58, 72, 204, 210 and abject, 41, 48, 72, 166 Bakhtin’s theory of, 53, 72 and affect, 32, 37, 38 feminist theories of, 53, 72 and embodiment, 35, 37, 38, Case, Sue-Ellen, 24, 68, 72, 74 167, 198 Casey, Maryrose, 85–87, 99 and gender, 21, 29, 46, 162, 194, Castellucci, Romeo, 186 197, 199 Cinema, 38, 85, 116, 118, 127, 131, in performance, 35, 37, 38, 41, 135, 151, 156, 177, 229 46–48, 65, 66, 71, 74, 106, see also ﬁlm 170, 177, 179, 180, 182, 194, Class, 9, 13, 15, 19, 25, 65, 95, 106, 199, 205 113, 115, 116, 124, 127, in performance art, 159, 162, 166, 128–130, 135, 137, 138, 179, 182 144–145, 156, 166, 182, 229, Bond, Chesea, 98 230 Bowers, Candy, 61, 225, 231 cLUB bENT, 12, 32 Bowers, Kim, 61, 225, 226 Collaboration, 33, 61, 62, 85, 95, Braidotti, Rosi, 20, 56 115, 120, 159, 160, 165, Brechtian defamiliarisation, 28 171–177, 185, 187, 226, 227 Brown Council, 26, 29, 157–184, and feminism, 159, 174, 227 227, 228, 231 and artistic practice, 174 Burlesque, 1, 10, 32, 33, 38, 45–48, Colonialism and colonisation, 29, 95, 61, 66, 73, 225, 228, 230 131, 136, 226, 228 neo-burlesque, 45–49, 66 Comedy, 10, 12, 29, 61, 87–90, 93, 95, Burlesque Hour, The, 4, 33, 34, 45, 47, 101–103, 118–120, 159, 165, 166 49–50, 52, 61, 90 Community Butch/femme identity, 61, 67, and feminism, 160, 172, 227 70, 71 and queer, 2, 30, 61, 70, 80, 90, 230 INDEX 255

through performance, 61, 80, 155, Drag 160, 161, 176, 225, 231 in Australian theatre, 12, 25 see also Indigenous community Butler’s theory of, 22, 23, 54, 123, Connell, Raewyn, 4 126 Constantina Bush, 29, 83–114, female-to-female, femme drag and 228–230 bio-drag, 55, 56, 60, 94 Contemporary art, 1, 3, 159–165, feminist critiques of, 22 169, 172, 175, 231 as genre, 32, 123 Converging Realities (Tait), 8–10 in Indigenous performance, 87 Corporeality, 32, 34, 37, 41, king/kinging and female-to- 46, 56, 58, 128, 179, 198, male, 55, 129 203, 228 as opposed to female see also affect, body impersonation, 95, 144 Country Women’s Association queen/queening and male-to- (CWA), 144–145, 147, 171–172, female, 22, 55, 56, 60, 64, 94, 174–176 124, 129 Creed, Barbara, 41, 49, 53 and queer, 59, 61, 62, 72, 75 Cross-dressing, 90, 116, 123, 129, and race, 115, 116, 135, 137, 139, 196, 229 145, 148, 149, 156 see also drag scholarship on, 60 Cross-gendered casting, 25, 120, 124, see also performativity, masquerade 129, 130, 137 Dreaming, the: Aboriginal concept Cross-racial casting, 116, 137, 148 of, 153 Curthoys, Ann, 2 Dyer, Richard, 128–129

D E Dance, 10, 12, 32, 33, 38, 46, 62, 71, Edna Everage (Barry Humphries), 95 80, 87, 89, 96, 109, 112, 143, Endurance-based performance, 160, 151–153, 163, 165–166, 169, 165, 172 217, 225, 228, 231–233 Epistemology of the Closet Davis, Kate, 185–186, 194 (Sedgwick), 16 Deleuze, Giles, 34, 35, 56 Eureka Stockade, 116, 142–144, 152 Diamond, Elin, 24, 37 Disidentification, 84, 100, 102, 103, 105, 114 F Diva, 31, 50, 52, 62, 75, 78, 80, 83, Fa’alafi, Lisa, 225–226 87, 89, 92, 113, 229 Feast of Argentina Gina Catalina, Dolan, Jill, 11, 22, 30, 37, 75, 123 The, 31–59, 155, 227 Doley, Kelly, 160 Female Gothic, The, 43–45, 49, 50, Dolls Revolution, The (Fensham & 209, 214 Varney), 7 see also gothic fiction 256 INDEX

Female impersonation, 95 Finucane, Moira, 4, 12, 26, 28, 31–58, Femininity 61, 78, 83, 87, 90, 94, 155, 167, and drag, 123–126, 129 186, 219, 227–231 as construction, 29, 33, 55, 60, 67, Flanders, Ash, 13, 115, 118–120, 123, 68, 72, 73, 77, 87, 95 126, 131, 136, 138–140, as social role, 44, 68, 71, 72, 198 143–144, 151 heightened performance of, 54, Food (in performance), 31, 51, 52 59, 65 Foucault, Michel, 15, 21, 23 see also masquerade Frankenstein (performance), 4, 185, Feminism 213, 216, 218, 220 and camp, 49–56 Frankenstein (Shelley), 185, 188, 191, and identity politics, 12, 18, 213–224 21, 227 and narcissism, 75–81 and performance art, 158–160, 162 G and politics, 9, 10, 56, 62, 67, Gay 73, 76, 166, 167, 174, 182, characters, 6, 11, 13, 91 195, 227 identity, 2, 94, 227 – and queer theory, 2, 14 20, 66, 189 and lesbian studies, 16, 17, 189 anti-pornography, 16 male culture, 55, 67 generational, 18, 19, 159 stereotypes, 55, 139 in contemporary Australian theatre (as opposed to queer), 11, society, 1, 3 12, 13 – in Australian theatre, 1, 3, 6 11, see also homosexual 13, 25 Gender liberal, 6, 9, 12 and Australian theatre, 1, 3, 25, 29 lesbian, 67, 68 Butler’s theory of, 20, 23, 25, 189 materialist, 8, 9, 230 and identity, 10, 22, 26, 54, 67, radical, 8, 12 193, 195, 197, 199, 229 see also postfeminism, second-wave Parody, 46, 60, 72, 123, 127, 135, feminism 144, 156 Femme identity, 61, 70, 71 Performativity, 18, 22, 29, 54, see also butch/femme identity 55, 59, 83, 87, 106, 123–125, – Fensham, Rachel, 7, 9 11 197, 229 Film, 38, 41, 42, 49, 86, 118, 122, politics in contemporary 131, 136, 138, 140, 145, 148, Australia, 2–6 151, 157, 158, 161, 163, 167, and race, 9, 13, 15, 25, 29, 35, 83, – – 177 181, 190, 198 199, 205, 92–98, 115, 116, 123, 127, 210, 214, 217, 221 130, 135, 216, 225, 228, 229 see also cinema separation from sexuality, 16 Finucane & Smith, 4, 32, 33, 40, 47, and sexuality, 2, 13, 68, 227 49, 57, 61, 90, 231 stereotypes, 140, 226, 228 INDEX 257

Gender Trouble (Butler), 15, 18, 21, Homosexual and homosexuality, 68, 22, 29 69, 75, 91, 116, 130, 134 Genette, Gérard, 190, 191 see also gay Gilbert, Helen, 7, 86, 154 Horror genre, 217 Gillard, Julia, 4, 5, 223–224 Hot Brown Honey, 26, 225–233 Gill, Rosalind, 20, 167 Howard, John, 3, 20, 79, 93, 99, 110 Goldberg, RoseLee, 164, 166, 179 Humour, 28–29, 31, 39, 43, 61, 75, Gold rush, 116, 141 88, 93, 98, 102, 104, 113, 114, Gone with the Wind (film), 116, 122 152, 155, 159, 166, 191, 225 Gotharama, 31–58, 219, 228 as political strategy, 29, 113, 114, Gothic fiction, 38, 41, 43, 45, 49 159, 225 Grand Guignol, 32, 38, 42, 45, 49 Hypertextuality, 190 Greene, Declan, 115, 118–120, 126, 131, 146, 148, 149 I fi Grif n Theatre, 27, 119 Identity politics, 12, 17, 18, 21, 25, Grosz, Elizabeth, 56 56, 75, 88, 227 Grotesque Indigenous female grotesque, 53, 59, 72 arts funding, 232 imagery, 31, 40 community and communities, 84, parody of masculinity, 124 87, 88, 90, 91, 96, 99–101, parody of striptease, 46 109, 113, 147 spectacle, 176 culture, 87, 88, 90–92, 97, see also abject 101–102, 107, 108, 146, 154 identity, 29, 84, 85, 104, 113, 115, H 146, 148, 151 Halberstam, Judith/Jack, 18, land rights and native title, 112 60, 67, 68, 73, 123, 126, 148, languages, 90, 97, 102, 111 152, 159 LGBTQI and queer Hall, Stuart, 118 communities, 88, 91 Halperin, David, 15 performance, 84–88, 104, 106, 110, Harris, Geraldine, 24, 72, 74 114, 147 Hemmings, Clare, 19, 35, 69, 74 spectators, 96–98, 102, 103, Henry, Astrid, 19 113–114, 147 Heteronormativity, 1, 14, 18, 20, 22, see also aboriginal, aboriginality 24–25, 62, 72, 81, 232, 233 Indigenous people, 80, 85, 86, 92, 94, History of Sexuality, The (Foucault), 15 95, 97, 100–102, 105, 108–112, Hooks, bell, 22 114, 135, 141, 142, 145–147, 150 Homans, Margaret, 188, 214, 215 and Australian plays, 117 Homonormativity, 15 and cinematic representation, 135 Homophobia, 3, 24, 90, 91, 130, 172, and citizenship, 100 229, 232 and colonisation, 86, 100 and aboriginal communities, 90 and ‘Protection Acts’, 108 258 INDEX

Indigenous people (cont.) La Mama Theatre, 32, 51 and racism, 101, 145, 150 Langton, Marcia, 85, 136 and Rudd’s apology, 111 Lauretis, Teresa de, 15, 74 and stereotypes, 85, 101, 116, Lesbian 145, 150 feminism, 8, 16, 71, 74, 189 on the Victorian goldﬁelds, 141 femme, 66–72, 74 and welcome to country, 112 and gay studies, 11, 16, 17, 189 see also Stolen Generation sexual identity, 56, 227 Intensity, 32, 34–40, 50, 124, Little Ones Theatre, 30, 117 127, 222 Liveness, 162–164 see also affect Liveness (Auslander), 163 Intergenerational dialogue, 159, 171 Lloyd, Moya, 23, 24 Intersectionality Lui, Nakkiah, 87, 104, 111, 147 of performance and contemporary art, 160–165 of queer and feminism, 15, 232 M of sexuality, gender and race, 83, 115 MacKinnon, Catherine, 16 Intertextuality Mainstream and adaptation, 190 Australian culture, 3, 9 as postmodern performance popular culture, 227 technique, 28, 120, 180 theatre, 6–11, 226, 230 In vitro fertilisation (IVF), 192, 218, Malthouse Theatre, 27, 90, 104, 117, 222, 224 119, 187, 193, 213 Irigaray, Luce, 18, 21, 56, 72 Helium program, 27, 193 Mammy (as racist construction), 131 J Mardi Gras, Sydney, 12, 32, 117 Jagose, Annamarie, 14, 15, 18 Marsh, Anne, 158, 173, 175, 180, Jeffreys, Sheila, 16, 17 181, 183 Jenzen, Olu, 75–77 Martinez, Ursula, 33, 47 Jones, Amelia, 76, 161 Masochism, 191, 192, 202, 203, 206, 207 Masquerade, 25, 44, 53, 54, 58, K 71–75, 124, 137 King, Kamahi Djordan, 13, 26, 28, 29, Mass Action: 137 Cakes in 90 – 34, 83, 87 90, 96, 104, 107, Hours, 160, 171–177 147, 227, 229 Massumi, Brian, 32, 34–38, 40, 48 – Kriol, 97 98, 104 Maternity and maternal, 3, 44, Kristeva, Julia, 18, 216 54, 58, 72, 166, 188, 192, 197, 214–216, 219, 220, L 222, 223 La Boite Theatre, 32, 49 see also motherhood Lacan, Jacques, 202, 204, 216 McBean, Sam, 15, 18 INDEX 259

McRobbie, Angela, 20 Nimrod Theatre, 7 Melbourne Theatre Company Northern Territory National (MTC), 27, 117–120, 136, 138, Emergency Response 151, 152, 187, 193, 201, 210 (Intervention), 99 NEON festival of independent theatre, 136 Meow Meow, 30, 33, 73–74 O Metatextuality, 190, 191 Midsumma Gay and Lesbian Olympia Bukkakis, 121, 124, 126, 127 Festival, 61, 62, 89 Olympic Games Opening Ceremony – Milkshake (performance and (Sydney 2000), 153 154 video), 160, 165 Orientalism, 141, 145 ’ Mimicry and mimesis, 124, 196 Original Women s Theatre (Tait), 8 ﬁ – Misogyny, 4, 5, 60, 116, 156, 185, Orlando ( lm), 198, 199 200 223, 227, 232 Orlando (performance), 185, 191, – Missionaries, 107, 145 192, 193 201, 212, 213, 229 Moers, Ellen, 44, 188, 214–215 Orlando (Woolf), 19, 185, 190, 191, – Moreton-Robinson, Aileen, 84, 99, 192, 193 201 100, 103, 105, 113, 129 OutBlack, 88, 89, 91 Motherhood, 4, 191, 213–216, 219, 220, 222, 223 Multiculturalism, 86, 151 P Multimedia, 161, 163, 179 Pansexuality, 70, 72, 226, 227 Muñoz, José Esteban, 37, Parables for the Virtual (Massumi), – 84, 100 103, 114, 123, 35–38 155, 159 Parody Myall (Indigenous expression), 96 and camp, 50, 52, 54, 67, 117 Myer, Moe, 55, 117, 187 of gender, 46, 60, 123, 124, 127, 135, 144, 156 of mainstream representation, 91 N of performance art, 164 Narcissism, 59–81, 124 as performance strategy, 28, 72 National identity, 7, 116, 136, 137, of race, 129, 137, 228 139, 143, 155, 156 Parr, Bruce, 11–13 see also Australian Passing, 67, 68, 95, 101, 109, 125, Naturalism and naturalistic theatre, 1, 126, 141, 143, 151, 197 7, 138, 148 Patriarchal Negra, Diane, 20 culture, 41, 44, 49, 58, 115, 124, Neoliberalism, 15, 20, 37, 79, 185, 189, 191, 195, 202, 209, 167, 218 213, 218, 224, 227 Newton, Esther, 67, 109 discourses, 188, 190, 199, New Wave, 7, 11 203, 206 260 INDEX

Patriarchal (cont.) and postfeminism, 20 fantasy, 209, 212 sensory and sensual, 31, 58, 170 formations of identity, 76 and sexuality, 66, 195, 197 gender roles, 167, 192, 206 visual, 47, 159, 167 history, 118 Politics ideology, 195, 199, 200, 206, in Australia, 13, 27, 28, 86, 140, 209–212, 222 182, 232 operations, 189, 206, 211 of camp, 54, 55 power dynamics, 46, 60, 73 and feminism, 1, 4, 6, 9, 12, 15, 17, society, 194 18, 21, 25, 55, 56, 58, 62, symbolic order, 41, 124 67, 73, 76, 166, 167, 174, 182, system, 195, 198, 212, 216 195, 227 values, 195 and gender, 3, 4, 20, 25, 28, 81, white sovereignty, 99, 100 117, 159, 188, 232 Patriarchy, 1, 14, 76, 129, and humour, 61, 159 156, 189, 190, 195, 200, and intersectionality, 225, 232 202, 206, 223, 226, and performance, 2–6, 25, 53, 58, 232, 233 71, 73, 117, 135, 154, 167, Performance art, 1, 10, 32, 120, 169, 227 157–184 and queer, 6, 15, 58, 120, 227 and affect, 179 and race, 13, 25, 103, 115, and feminism, 157, 158, 135, 225 159, 160, 162, 166, and sexuality, 1, 3, 5, 10, 12, 20, 169, 182, 183, 228 25, 28, 115, 162, 189, 195, and history, 157, 176, 180, 181 224, 232 and liveness, 163–164 visibility, 76, 162, 169 and multimedia, 163 see also identity politics and queer, 12 Pornography, 38, 189, 205, 206, Performance Fee, 160, 167, 168, 169, 210, 229 170, 183 Postcolonialism, 19, 35, 83, 146, 156, Performance Space (art 216, 225 organisation), 12, 175 Postfeminism, 3, 19, 20, 46, 110, Performativity 165, 167, 195, 209, 213, 217, and gender, 18, 24, 29, 54, 55, 59, 218, 227 83, 87, 106, 123, 124, 125, Postmodern, 27, 28, 55, 117, 120, 197, 229 159, 160, 180, 183, 195, 198 and race, 116, 127 theatre and performance, 30, 37, Phelan, Peggy, 22, 123, 163, 170, 178 68, 84, 174 Pleasure Postmodernism, 19, 189 audience, 47 Poststructuralism, 19, 35, 189 and pain, 32, 53, 58, 190, 229 Power relations, 2, 3, 118 and politics, 28, 193 Pram Factory, 7 INDEX 261

Q relations in Australia, 98, 116 Queer stereotypes of, 101–102, 109, 113, acts, 74, 227 116, 131, 140, 228 aesthetics, 32, 56, 227 war, 103 community, 2, 30, 61, 70, 80, see also whiteness 90, 229 Racial drag, 116, 137, 139, 145, 148, feminisms, 2, 15, 19, 30, 149, 156 56, 233 Racial politics, 88, 93, 100, 115, 121, identity, 60, 62, 65, 66, 69, 74, 135, 140, 172, 226 77, 94 Racism, 3, 29, 110, 113, 116, 122, politics, 1, 6, 15, 32, 38, 58, 117, 129, 130, 131, 139, 141, 142, 120, 136, 186, 227 156, 172, 226, 228, 229 sexuality, 60, 75, 81 Réage, Pauline, 185, 201, 202, 206, subculture, 74, 126, 156 207, 211 subject, 65, 117 Reconciliation, 86, 87, 111, 136 subjectivity, 3, 32, 71, 114 Redfern Now (TV series), 91 theory, 2, 9, 14–20, 66, 189 Riviere, Joan, 21, 72, 74 Queering Robertson, Pamela, 55, 56 feminism, 20, 228 Rowe, Kathleen, 53, 72–73 history, 115 Rubin, Gayle, 16–17 theatre, 38 Rudd, Kevin, 4, 5, 80, 99, 111 the text, 105, 118 Russo, Mary, 53, 54, 59, 64, 72 Queer performance, 4, 5, 6, 11, 12, 13, 14, 21, 25, 28, 32, 33, 37, 61, 66, 71, 74, 113, 117, 124, 155, S 191, 225, 227, 230 Sadomasochism, 16, 189, 201, 202, – in Australian history, 11 14 204, 207 ‘ ’ – as opposed to gay , 11 13 see also masochism and utopianism, 2, 30, 155 Safe Schools program, 5 Said, Edward, 141 Same sex marriage, 5 R Second-wave feminism, 44, 159, Rabble, the, 4, 26, 35, 161, 184, 162, 183 185–224, 227–231 Sedgwick, Eve Kosofsky, 15, 16, Race 34, 35 as cultural construction, 29, 83, 113 Sexism, 3, 4, 5, 62, 139, 165, 166, and cultural identity, 151, 216 167, 223, 226, 227, 232 and feminism, 183 Sexuality, 5, 12, 13, 19, 45, 56, 60, as identity category, 15, 17, 22, 29, 61, 68–71, 75, 81, 83, 92, 115, 84, 113, 117, 124 116, 118, 125, 130, 135, 137, intersection with sexuality and 145, 156, 183, 186, 190–191, gender, 83, 115, 124, 225 199, 204, 222, 226, 229 262 INDEX

Sexuality (cont.) of race and ethnicity, 109, 113, 116, and gender, 1, 3, 6, 10, 11, 131, 132, 136, 140, 156, 228 14, 16, 17, 20, 25–30, 32, of sexuality, 54–55, 140 37, 124, 160, 162, 185, 186, of white Australian identity, 108 188, 189, 194–196, 224, 225, Stolen Generation, The, 79, 80, 227, 232 86, 108 and queer, 17, 60, 75, 81, 227, 229 Story of O (performance), 29, 189, and race, 115, 124, 145, 156, 191, 192, 201, 203, 207, 225, 229 210–213, 227, 229 female, 185, 189, 190, 191, Story of O (Réage), 201, 202, 206, 207 195, 224 Stripping and striptease, 45–49, 228 split from gender, 15–17 Summers, Anne, 3 see also bisexuality, heterosexuality, Summertime in the Garden of Eden, 115, homosexuality, pansexuality 116, 118, 119, 121, 229 Shelley, Mary, 185, 188, 191, 192, 213–216, 218, 220 Sieg, Katrin, 137 T Silverman, Kaja, 202, 203, 206 Tait, Peta, 7–12, 65 Sisters Grimm, 26, 29, 85, 115–156, Temporality, 18, 152, 153 172, 187, 201, 227–231 Terra Nullius, 105, 106, 150 Smith, Diana, 160, 164, 172, 174, Theatre Works, 117, 119, 120, 122, 176, 178 125, 136 Societas Raffaello Sanzio, 161, 186 Thinking Sex (Rubin), 15–16, 17 Solomon, Alicia, 22, 123, 129 This is Barbara Cleveland, 157, 160, Sontag, Susan 177–184 on camp, 55 Tomkins, Silvan, 34 on pornography, 202, 203, 206 Transtextuality, 190 Sovereignty, 99, 100, 113 Turnbull, Malcolm, 5, 231 Sovereign Wife, The, 85, 115, 116, Tyler, Carole-Anne, 74, 123 118, 120, 131, 135–137, 139, Tyler, Imogen, 75, 76 142, 145–148, 150–153, 155, 156, 172, 201, 229 Spectacle, 50, 110, 154, 155, 160, U 162, 166–169, 176, 178, 180 Uluru (Ayers Rock), 148, 149 Stam, Robert, 188, 189, 190, 191, 214 Unmarked (Phelan), 163 Stereotypes and stereotyping Unruly woman, 53, 72, 73 of gender, 22, 54–55, 60, 101, Utopianism 116, 122, 130, 135–136, 140, and feminism, 31, 50, 58, 78, 189, 226, 228 195, 229 of Indigenous people and in performance, 30, 31, 152, 155, 233 culture, 85, 101, 108, 109, and queer, 31, 50, 58, 78, 152, 155 114, 135, 145–147, 150 and race, 116, 229 INDEX 263

V White Australia Policy, 141 Valente, Emma, 185, 186, 189, 194, Whiteness, 109, 110, 113, 117, 122, 198, 201–203, 207, 209, 213, 128–132, 233 214, 219 White Possessive Varney, Denise, 4, 7, 9, 10, 11, (Moreton-Robinson), 99 35, 37, 87 White privilege, 109, 111, 128, Visibility politics, 162, 169 130, 132 Vitalstatistix, 8, 12, 231 Woolf, Virginia, 19, 185, 189, 190–200

W Ward, Sarah, 13, 28, 34, 56, 59–64, Y 66, 69, 70, 73, 75, 77, 78, 80, 81, Yana Alana, 56, 59–81, 83, 87, 89, 83, 87, 97, 123, 229 123, 227, 229, 230