Drag King Camp: a New Conception of the Feminine
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Transgender-Identiti
Transgender Identities Overview Transgender is an umbrella term for a wide variety of identities describing an individual’s embodiment or gender presentation challenging the cultural or societal norm of their assigned sex at birth. An individual can identify as one or many of these identities. “Trans” is shorthand for “transgender.” Terminology has changed over time so we need to be sensitive to usage within particular communities. Gender Identity: An individual’s internal sense of Bi-Gendered: One who has a significant gender being male, female, or something beyond the binary. identity encompassing both male and female Gender identity is internal; ones gender identity is genders. Some may feel one side is stronger, but not necessarily visible to others. both sides are engaged. Gender Expression: How a person represents or Two-Spirit: Contemporary term referring to the expresses their gender identity to others, often historical and current First Nations people whose through behavior, clothing, hairstyles, voice or body individuals spirits were a blend of male and female characteristics. spirits. This term has been reclaimed by some Native American LGBT communities to honor their Intersex: Term used for people who are born with heritage and provide an alternative to the Western reproductive or sexual anatomy and/or chromosome labels of gay, lesbian, bisexual or transgender. patter that dos not align with typical definitions of male or female. Cross-Dresser: A term used for an individual who dress in clothing traditionally or stereotypically worn Transsexual: An older term for people whose by the other sex, but generally do not have an intent gender identity is different from their assigned sex at to live full-time as the other gender. -
The Reconstruction of Gender and Sexuality in a Drag Show*
DUCT TAPE, EYELINER, AND HIGH HEELS: THE RECONSTRUCTION OF GENDER AND SEXUALITY IN A DRAG SHOW* Rebecca Hanson University of Montevallo Montevallo, Alabama Abstract. “Gender blending” is found on every continent; the Hijras in India, the female husbands in Navajo society, and the travestis in Brazil exemplify so-called “third genders.” The American version of a third gender may be drag queen performers, who confound, confuse, and directly challenge commonly held notions about the stability and concrete nature of both gender and sexuality. Drag queens suggest that specific gender performances are illusions that require time and effort to produce. While it is easy to dismiss drag shows as farcical entertainment, what is conveyed through comedic expression is often political, may be used as social critique, and can be indicative of social values. Drag shows present a protest against commonly held beliefs about the natural, binary nature of gender and sexuality systems, and they challenge compulsive heterosexuality. This paper presents the results of my observational study of drag queens. In it, I describe a “routine” drag show performance and some of the interactions and scripts that occur between the performers and audience members. I propose that drag performers make dichotomous American conceptions of sexuality and gender problematical, and they redefine homosexuality and transgenderism for at least some audience members. * I would like to thank Dr. Stephen Parker for all of his support during the writing of this paper. Without his advice and mentoring I could never have started or finished this research. “Gender blending” is found on every continent. The Hijras in India, the female husbands in Navajo society, and the travestis in Brazil are just a few examples of peoples and practices that have been the subjects for “third gender” studies. -
Avant Première Catalogue 2018 Lists UNITEL’S New Productions of 2017 Plus New Additions to the Catalogue
CATALOGUE 2018 This Avant Première catalogue 2018 lists UNITEL’s new productions of 2017 plus new additions to the catalogue. For a complete list of more than 2.000 UNITEL productions and the Avant Première catalogues of 2015–2017 please visit www.unitel.de FOR CO-PRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching/Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 WORLD SALES C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Elmar Kruse Niklas Arens Nishrin Schacherbauer Managing Director Sales Manager, Director Sales Sales Manager [email protected] & Marketing [email protected] [email protected] Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director [email protected] [email protected] CATALOGUE 2018 Unitel GmbH & Co. KG Gruenwalder Weg 28D 82041 Oberhaching/Munich, Germany CEO: Jan Mojto Editorial team: Franziska Pascher, Dr. Martina Kliem, Arthur Intelmann Layout: Manuel Messner/luebbeke.com All information is not contractual and subject to change without prior notice. All trademarks used herein are the property of their respective owners. Date of Print: February 2018 © UNITEL 2018 All rights reserved Front cover: Alicia Amatriain & Friedemann Vogel in John Cranko’s “Onegin” / Photo: Stuttgart Ballet ON THE OCCASION OF HIS 100TH BIRTHDAY UNITEL CELEBRATES LEONARD BERNSTEIN 1918 – 1990 Leonard Bernstein, a long-time exclusive artist of Unitel, was America’s ambassador to the world of music. -
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University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/59427 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. THESIS INTRODUCTION The picture of themselves which the Victorians have handed down to us is of a people who valued morality and respectability, and, perhaps, valued the appearance of it as much as the reality. Perhaps the pursuit of the latter furthered the achievement of the former. They also valued the technological achievements and the revolution in mobility that they witnessed and substantially brought about. Not least did they value the imperial power, formal and informal, that they came to wield over vast tracts of the globe. The intention of the following study is to take these three broad themes which, in the national consciousness, are synonymous with the Victorian age, and examine their applicability to the contemporary theatre, its practitioners, and its audiences. Any capacity to undertake such an investigation rests on the reading for a Bachelor’s degree in History at Warwick, obtained when the University was still abuilding, and an innate if undisciplined attachment to things theatrical, fostered by an elder brother and sister. Such an attachment, to those who share it, will require no elaboration. My special interest will lie in observing how a given theme operated at a particular or local level. -
A Look at 'Fishy Drag' and Androgynous Fashion: Exploring the Border
This is a repository copy of A look at ‘fishy drag’ and androgynous fashion: Exploring the border spaces beyond gender-normative deviance for the straight, cisgendered woman. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/121041/ Version: Accepted Version Article: Willson, JM orcid.org/0000-0002-1988-1683 and McCartney, N (2017) A look at ‘fishy drag’ and androgynous fashion: Exploring the border spaces beyond gender-normative deviance for the straight, cisgendered woman. Critical Studies in Fashion and Beauty, 8 (1). pp. 99-122. ISSN 2040-4417 https://doi.org/10.1386/csfb.8.1.99_1 (c) 2017, Intellect Ltd. This is an author produced version of a paper published in Critical Studies in Fashion and Beauty. Uploaded in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ 1 JACKI WILLSON University of Leeds NICOLA McCARTNEY University of the Arts, London and University of London A look at ‘fishy drag’ and androgynous fashion: Exploring the border spaces beyond gender-normative deviance for the straight, cisgendered woman Abstract This article seeks to re-explore and critique the current trend of androgyny in fashion and popular culture and the potential it may hold for gender deviant dress and politics. -
Narrative Construction in Dostoyevsky's and Janacek's 'From the House of the Dead'
SBORNlK PRACf FILOZOFICKE FAKULTY BRNENSKE UNIVERZITY STUDIA MINORA FACULTATIS PH1LOSOPHICAE UNIVERSITATIS BRUNENSIS H33, 1998 GEOFFREY CHEW — ROBERT VILAIN EVASIVE REALISM: NARRATIVE CONSTRUCTION IN DOSTOYEVSKY'S AND JANACEK'S 'FROM THE HOUSE OF THE DEAD' Tolstoy famously regarded The House of the Dead (1860-61) as Dos- toyevsky's finest work; indeed, he elevated it to a supreme position among nineteenth-century books written by Russian authors: 1 have read The House of the Dead. I do not know a book better than this in all our literature, not even excepting Pushkin. Not its tone, but its point of view is admirable: sincere, natural and Christian. A good, instructive book.1 This verdict significantly makes no reference to The House of the Dead as a novel; and George Steiner has indeed suggested that it reflects the fact that the book is the least 'Tolstoyan' of all Dostoyevsky's works — not really a novel at all, but 'plainly an autobiography'.2 In this he takes his cue from Tolstoy him self, for in a postscript to War and Peace, Tolstoy categorized both The House of the Dead and Gogol's Dead Souls as works that cannot properly be called novels.3 The work's full title, Notes from the House of the Dead, itself in some respects confirms the work's distance from the novel genre, and in his massive biography of Dostoyevsky, Joseph Frank is (significantly) content to use The House of the Dead as a primary source for the sections on the author's impris onment.4 Thus, at the outset, there are some uncertainties attaching to The 1. -
Sariah Gonzalez My Libretto Was Inspired by the Greek Mythological
Sariah Gonzalez My libretto was inspired by the Greek mythological story of Leda and the Swan, which is about the god, Zeus and a young woman named, Leda. Zeus, in the form of a swan, rapes the helpless Leda; as a result of this violent act, Leda gives birth to Helen of Troy. I chose to recreate this narrative in my libretto because it allowed for the exploration of many themes that were discussed in class this semester. The text of my libretto explores the themes of sexual violence, the exploitation of women, and social class. The theme of sexual violence is introduced in the very first scene of my libretto. I felt compelled to incorporate this theme into my work because sexual violence is a prevalent issue in contemporary culture. In the first act, Leda’s body is hypersexualized by the Greek god, Zeus. Because he is a powerful being, Zeus feels entitled to enjoy Leda’s body. Leda is raped by her husband on the same night of the swan’s attack because he feels she owes him for lying with another. The attitudes of Zeus and Tyndareus are reflective of ideas that are still enforced today. Ultimately, these attitudes are condemned by the end of the opera because Leda’s rape is linked with causing the destructive trojan war. Moreover, there are several instances of human exploitation displayed in the libretto. The first female character to be objectified is Leda. She is treated as a means to appease the carnal desires of men. Leda’s daughter, Helen is the next victim of exploitation. -
Memoria Y Representación Audiovisual De Las Prácticas Travestis
UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE CIENCIAS DE LA INFORMACIÓN TESIS DOCTORAL Memoria y representación audiovisual de las prácticas travestis, transformistas y drag queens, de los carnavales de Barranquilla, Baranoa, Puerto Colombia y Santo Tomás en el Caribe colombiano MEMORIA PARA OPTAR AL GRADO DE DOCTOR PRESENTADA POR Danny Armando González Cueto Director Francisco A. Zurian Madrid Ed. electrónica 2019 © Danny Armando González Cueto, 2019 DOCTORADO EN COMUNICACIÓN AUDIOVISUAL, PUBLICIDAD Y RELACIONES PÚBLICAS FACULTAD DE CC. DE LA INFORMACIÓN TESIS DOCTORAL Memoria y representación audiovisual de las prácticas travestis, transformistas y drag queens, de los carnavales de Barranquilla, Baranoa, Puerto Colombia y Santo Tomás en el Caribe colombiano Autor: Danny Armando González Cueto Director: Prof. Dr. Francisco A. Zurian Fecha: Madrid, 2019. AGRADECIMIENTOS Durante cuatro años se desarrolló esta investigación, que desafió mi manera de ver el mundo, debido también a que esta experiencia llena de novedades, tuvo como epicentro la ciudad de Madrid, en España, un fuerte contraste con el mundo del trópico del que provengo, por lo cual el proceso de adaptación fue fundamental para profundizar en el proyecto. Por eso, quiero agradecer en especial a Madrid, por su acogida, sus librerías, su Feria del Libro, sus parques, sus cines, sus espacios para el ocio, su particular forma de ser cómplice cuando el tiempo de una conversación se hizo interminable, y a las amigas y a los amigos que aquí me abrazaron y me permitieron crear en la tertulia nocturna. Expreso mi agradecimiento a mi director, el profesor Francisco A. Zurian, por tener la dedicación, la paciencia y la sabiduría para orientar este proceso de investigación, llevándolo más allá del mero hecho de lograrlo, alentándome en publicar artículos, apoyarle en proyectos editoriales, en la organización de eventos y muy importante, ser capaz de que el discurso y el enunciado devenido de mi visión sobre las cosas, se hiciera fuerte y decidido. -
"Play Your Fan": Exploring Hand Props and Gender on the Restoration Stage Through the Country Wife, the Man of Mode, the Rover, and the Way of the World
Columbus State University CSU ePress Theses and Dissertations Student Publications 2011 "Play Your Fan": Exploring Hand Props and Gender on the Restoration Stage Through the Country Wife, the Man of Mode, the Rover, and the Way of the World Jarred Wiehe Columbus State University, [email protected] Follow this and additional works at: https://csuepress.columbusstate.edu/theses_dissertations Part of the English Language and Literature Commons Recommended Citation Wiehe, Jarred, ""Play Your Fan": Exploring Hand Props and Gender on the Restoration Stage Through the Country Wife, the Man of Mode, the Rover, and the Way of the World" (2011). Theses and Dissertations. 148. https://csuepress.columbusstate.edu/theses_dissertations/148 This Thesis is brought to you for free and open access by the Student Publications at CSU ePress. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of CSU ePress. Digitized by the Internet Archive in 2012 with funding from LYRASIS Members and Sloan Foundation http://archive.org/details/playyourfanexploOOwieh "Play your fan": Exploring Hand Props and Gender on the Restoration Stage Through The Country Wife, The Man of Mode, The Rover, and The Way of the World By Jarred Wiehe A Thesis Submitted in Partial Fulfillment of Requirements of the CSU Honors Program For Honors in the Degree of Bachelor of Arts In English Literature, College of Letters and Sciences, Columbus State University x Thesis Advisor Date % /Wn l ^ Committee Member Date Rsdftn / ^'7 CSU Honors Program Director C^&rihp A Xjjs,/y s z.-< r Date <F/^y<Y'£&/ Wiehe 1 'Play your fan': Exploring Hand Props and Gender on the Restoration Stage through The Country Wife, The Man ofMode, The Rover, and The Way of the World The full irony and wit of Restoration comedies relies not only on what characters communicate to each other, but also on what they communicate to the audience, both verbally and physically. -
The Whore and the Breeches Role As Articulators of Sexual Economic Theory in the Intrigue Plays of Aphra Behn
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 2000 Masked Criticism: the Whore and the Breeches Role as Articulators of Sexual Economic Theory in the Intrigue Plays of Aphra Behn. Mary Katherine Politz Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Politz, Mary Katherine, "Masked Criticism: the Whore and the Breeches Role as Articulators of Sexual Economic Theory in the Intrigue Plays of Aphra Behn." (2000). LSU Historical Dissertations and Theses. 7163. https://digitalcommons.lsu.edu/gradschool_disstheses/7163 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor qualify illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. if Also,unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
Drag.Qxd (Page 1)
Academy established its separate its established Academy courtesy Patsy Lynch Patsy courtesy Beulah Buskirk, 2004 Buskirk, Beulah America pageant. In 1986, the 1986, In pageant. America equally diverse in their styles and music with music and styles their in diverse equally took it over as the Miss Gaye Miss the as over it took offer a mix of all backgrounds. Performers are Performers backgrounds. all of mix a offer the St. James, and many others. many and James, St. the leading female impersonators, female leading white. The ethnic circuits overlap where clubs where overlap circuits ethnic The white. Kazans, the Maharises, the O’Haras, the Santanas, the O’Haras, the Maharises, the Kazans, , one of Washington’s of one , Buskirk cuits: African-American, Latino, Asian, and Asian, Latino, African-American, cuits: the Dennises, the Devereaux, the Kanes, the Kanes, the Devereaux, the Dennises, the Beulah a.k.a. Buskirk, Jerry Today’s club scene offers distinct ethnic cir- ethnic distinct offers scene club Today’s include the Bloomingdales, the Blues, the Carreros, the Blues, the Bloomingdales, the include first city-wide pageant. In 1964 In pageant. city-wide first beyond the gay community. gay the beyond eages as well. Well-known DC drag families drag DC Well-known well. as eages started a Masquerade Ball, the Ball, Masquerade a started sional drag performances to an audience far audience an to performances drag sional of them trainees of the Academy) created club lin- club created Academy) the of trainees them of In the fall of 1961, Bill Frye Bill 1961, of fall the In Brice and her Henry Street house brought profes- brought house Street Henry her and Brice trees. -
LISTENING to DRAG: MUSIC, PERFORMANCE and the CONSTRUCTION of OPPOSITIONAL CULTURE DISSERTATION Presented in Partial Fulfillmen
LISTENING TO DRAG: MUSIC, PERFORMANCE AND THE CONSTRUCTION OF OPPOSITIONAL CULTURE DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree Doctor of Philosophy In the Graduate School of The Ohio State University By Elizabeth Kaminski, M.A. * * * * * The Ohio State University 2003 Dissertation Committee: Approved by Professor Vincent Roscigno, Advisor Professor Verta Taylor _________________________ Advisor Professor Nella Van Dyke Sociology Graduate Program ABSTRACT This study examines how music is utilized in drag performances to create an oppositional culture that challenges dominant structures of gender and sexuality. I situate this analysis in literature on the role of music and other cultural resources in the mobilization of social movement protest. Drawing from multiple sources of data, I demonstrate that drag queen performers make use of popular songs to build solidarity, evoke a sense of injustice, and enhance feelings of agency among audience members – three dimensions of cognition that constitute a collective action framework, conducive to social protest. The analysis is based on observations of drag performances; content analysis of the lyrics of drag songs; intensive interviews with drag queens at the 801 Cabaret in Key West, Florida; focus groups with audience members who attended the shows at the 801 Cabaret; and interviews with drag queen informants in Columbus, Ohio. I demonstrate how drag performers use music to construct new alliances and understandings of gender and sexuality among gay and heterosexual members of the audience. The data illustrate that drag performers strategically select songs to evoke an array of emotions among audience members. First are songs that utilize sympathy, sorrow, and humor to build solidarity.