Puss in Boots a Play with Music in the English Pantomime Tradition
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Lesbian and Gay Music
Revista Eletrônica de Musicologia Volume VII – Dezembro de 2002 Lesbian and Gay Music by Philip Brett and Elizabeth Wood the unexpurgated full-length original of the New Grove II article, edited by Carlos Palombini A record, in both historical documentation and biographical reclamation, of the struggles and sensi- bilities of homosexual people of the West that came out in their music, and of the [undoubted but unacknowledged] contribution of homosexual men and women to the music profession. In broader terms, a special perspective from which Western music of all kinds can be heard and critiqued. I. INTRODUCTION TO THE ORIGINAL VERSION 1 II. (HOMO)SEXUALIT Y AND MUSICALIT Y 2 III. MUSIC AND THE LESBIAN AND GAY MOVEMENT 7 IV. MUSICAL THEATRE, JAZZ AND POPULAR MUSIC 10 V. MUSIC AND THE AIDS/HIV CRISIS 13 VI. DEVELOPMENTS IN THE 1990S 14 VII. DIVAS AND DISCOS 16 VIII. ANTHROPOLOGY AND HISTORY 19 IX. ACKNOWLEDGEMENTS 24 X. EDITOR’S NOTES 24 XI. DISCOGRAPHY 25 XII. BIBLIOGRAPHY 25 I. INTRODUCTION TO THE ORIGINAL VERSION 1 What Grove printed under ‘Gay and Lesbian Music’ was not entirely what we intended, from the title on. Since we were allotted only two 2500 words and wrote almost five times as much, we inevitably expected cuts. These came not as we feared in the more theoretical sections, but in certain other tar- geted areas: names, popular music, and the role of women. Though some living musicians were allowed in, all those thought to be uncomfortable about their sexual orientation’s being known were excised, beginning with Boulez. -
The Performance of Gender with Particular Reference to the Plays of Shakespeare
Middlesex University Research Repository An open access repository of Middlesex University research http://eprints.mdx.ac.uk Dixon, Luke (1998) The performance of gender with particular reference to the plays of Shakespeare. PhD thesis, Middlesex University. [Thesis] This version is available at: https://eprints.mdx.ac.uk/6384/ Copyright: Middlesex University Research Repository makes the University’s research available electronically. Copyright and moral rights to this work are retained by the author and/or other copyright owners unless otherwise stated. The work is supplied on the understanding that any use for commercial gain is strictly forbidden. A copy may be downloaded for personal, non-commercial, research or study without prior permission and without charge. Works, including theses and research projects, may not be reproduced in any format or medium, or extensive quotations taken from them, or their content changed in any way, without first obtaining permission in writing from the copyright holder(s). They may not be sold or exploited commercially in any format or medium without the prior written permission of the copyright holder(s). Full bibliographic details must be given when referring to, or quoting from full items including the author’s name, the title of the work, publication details where relevant (place, publisher, date), pag- ination, and for theses or dissertations the awarding institution, the degree type awarded, and the date of the award. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Middlesex University via the following email address: [email protected] The item will be removed from the repository while any claim is being investigated. -
THE UNIVERSITY of HULL (Neo-)Victorian
THE UNIVERSITY OF HULL (Neo-)Victorian Impersonations: 19th Century Transvestism in Contemporary Literature and Culture being a Thesis submitted for the Degree of PhD in the University of Hull by Allison Jayne Neal, BA (Hons), MA September 2012 Contents Contents 1 Acknowledgements 3 List of Illustrations 4 List of Abbreviations 6 Introduction 7 Transvestites in History 19th-21st Century Sexological/Gender Theory Judith Butler, Performativity, and Drag Neo-Victorian Impersonations Thesis Structure Chapter 1: James Barry in Biography and Biofiction 52 ‘I shall have to invent a love affair’: Olga Racster and Jessica Grove’s Dr. James Barry: Her Secret Life ‘Betwixt and Between’: Rachel Holmes’s Scanty Particulars: The Life of Dr James Barry ‘Swaying in the limbo between the safe worlds of either sweet ribbons or breeches’: Patricia Duncker’s James Miranda Barry Conclusion: Biohazards Chapter 2: Class and Race Acts: Dichotomies and Complexities 112 ‘Massa’ and the ‘Drudge’: Hannah Cullwick’s Acts of Class Venus in the Afterlife: Sara Baartman’s Acts of Race Conclusion: (Re)Commodified Similarities Chapter 3: Performing the Performance of Gender 176 ‘Let’s perambulate upon the stage’: Dan Leno and the Limehouse Golem ‘All performers dress to suit their stages’: Tipping the Velvet ‘It’s only human nature after all’: Tipping the Velvet and Adaptation 1 Conclusion: ‘All the world’s a stage and all the men and women merely players’ Chapter 4: Cross-Dressing and the Crisis of Sexuality 239 ‘Your costume does not lend itself to verbal declarations’: -
Tatiana Korneeva 'An Old Fairy Tale Told Anew': Victorian
n. 3, gennaio-giugno 2014 ‘An old fairy tale toldTatiana anew’: Korneeva Victorian Fairy Pantomime* Christmas pantomime, a highly-admired and quintessentially British form of popular theatre, often features fairy-tale characters and plots. Given that a great number of the best-known pantomime performances, such as Cinderella, Bluebeard, The Sleeping Beauty, Puss in Boots and Red Riding Hood, are drawn from marvelous fictions, it is particularly interesting to investigate the role played by the Victorian pantomime in the trans- mission of fairy tales, and the pantomime’s broader impact on English culture. This essay has a dual focus. In the first place, it draws critical attention to the modalities of transposing fairy tales to the theatrical form of Victorian pantomime. Secondly, considering the pantomime’s crossover appeal to audiences of both adults and children, which is a result of its multivalent construction of transvestite performance, the essay explores how fairy pantomimes contribute to the discussion of gender in Victorian England. More specifically, the essay is concerned with the question of whether the experimentation with travesti roles in the pantomime’s stock characters of the Dame and the Principal Boy leads to the destabilisation of gender boundaries and the cre- ation of new ways of conceptualising sexuality, or whether instead it reinforces rigidly stratified Victorian notions of gender hierarchy. By addressing these questions, the article sheds light on the representation of gender and identity, fantasies of costume and disguise, as well as the development of Western attitudes to- wards cross-dressing and sexuality. In an utilitarian age, of all other times, it is a matter of grave importance that fairy tales should be respected. -
An Exploration of Gender, Sexuality and Queerness in Cis- Female Drag Queen Performance
School of Media, Culture & Creative Arts Faux Queens: an exploration of gender, sexuality and queerness in cis- female drag queen performance. Jamie Lee Coull This thesis is presented for the Degree of Doctor of Philosophy of Curtin University November 2015 DECLARATION To the best of my knowledge and belief this thesis contains no material previously published by any other person except where due acknowledgment has been made. This thesis contains no material which has been accepted for the award of any other degree or diploma in any university. Human Ethics The research presented and reported in this thesis was conducted in accordance with the National Health and Medical Research Council National Statement on Ethical Conduct in Human Research (2007) – updated March 2014. The proposed research study received human research ethics approval from the Curtin University Human Research Ethics Committee (EC00262), Approval Number #MCCA-12-12. Signature: Date: 20/11/2015 i ABSTRACT This PhD thesis investigates the cultural implications of cis-women performing female drag, with particular focus on cis-female drag queens (aka faux queens) who are straight-identified. The research has been completed as creative production and exegesis, and both products address the central research question. In the introductory chapter I contextualise the theatrical history of male-to-female drag beginning with the Ancient Greek stage, and foreground faux queens as the subject of investigation. I also outline the methodology employed, including practice-led research, autoethnography, and in-depth interview, and provide a summary of each chapter and the creative production Agorafaux-pas! - A drag cabaret. The introduction presents the cultural implications of faux queens that are also explored in the chapters and creative production. -
Cultural Confrontations at Lithuania's National Drama Theatre &L
Lease_v10.doc 1 <MT>Theatre as Action, Dramaturgy as Streben <MST>Cultural Confrontations at Lithuania’s National Drama Theatre <AU>Bryce Lease <TEXT1>In March 2014, Jonas Vaitkus, the artistic director of the Lietuvos Rusų Dramo s Teatras (Lithuanian Russian Drama Theatre) in Vilnius, declined an invitation to include his recent stage adaptation of Eugene Onegin staring the Ukrainian actor Grigorijus Gladijus at the annual Baltijskij dom (Baltic Home) theatre festival in St. Petersburg, which brings together Russian-language drama from former Soviet states.1 Vaitkus’s decision, which received unanimous support from the theatre’s ensemble, was outlined in an open letter that castigated the organizer of the festival, Sergei Šubo, for signing the Russian Ministry of Culture’s list of artists who support Vladimir Putin’s aggressive political action in Ukraine in the spring of 2014. While Vaitkus makes it clear that Šubo has the right to attach his own name to such a list, he reprimands the organizer’s choice to sign on behalf of Baltijskij dom, which assigns complicity to every artist who participates in the festival. Vaitkus carefully points out his allegiance to the Lithuanian government’s position on the revolutionary developments in Ukraine, which they consider a sovereign state, Lease_v10.doc 2 and their refusal to recognize the legality of the referendum on Crimea and Russia’s subsequent annexation of the region.2 Vaitkus concludes the letter: “We express our respect, our sympathy and our hope that in your country [Russia] a time will -
Chapter 1. Changing Sex and Bending Gender: an Introduction
1 CHANGING SEX AND BENDING GENDER: AN INTRODUCTION Alison Shaw An Indian folk-tale tells the story of two Rajas who agree that if one of them has a son and the other a daughter, their children will marry. When they both have daughters, one Raja disguises his daughter as a boy and raises her as his son. This does not solve the problem of her biological sex, however, and at her marriage the deceit is discovered and the boy’s father declares revenge. Desperate, the girl attempts suicide by throwing herself into the river Juma, but instead emerges from it transformed into a male. Her grateful father builds temples on the river bank in gratitude (Penzer 1927: 229–230). In this story, gender is manipulated through disguise and a sex change is effected by supernatural means, for it would have been impossible to achieve, at that time and place, through human efforts alone. In many other myths and legends, a transformation of biological sex is itself the source of the changed person’s supernatural powers. For example, the Greek myth of Kaineus tells the story of a young, vulnerable woman who is miraculously transformed into an aggressive and superhuman warrior king. In one version, the transformation of Kainis-the-girl to Kaineus-the-man seems to be a form of revenge, for it occurs after Kainis has been raped by Poseidon, while in another version her sex change happens in time for her to outwit the sea god and avoid the rape (Forbes-Irving 1990: 155–62). Stories of ‘changing sex and bending gender’ in folk tales and ancient mythol- ogy can thus be regarded as representations of the power of human imagination, as fantastic transformations that could not possibly happen in real life (Forbes- Irving 1990, Warner 2002). -
Constructing Sexualities
LEDDY LIBRARY UNIVERSITY OF WINDSOR, PRESENTED TO THE LEDDY LIBRARY UNIVERSITY OF WINDSOR BY DR. RON W. IANNI PRESIDENT& VICE-CHANCELLOR AUGUST 1997 CONSTRUCTING SEXUALITIES Edited by Jacqueline Murray Working Papers in the Humanities I Humanities Research Group University of Windsor Windsor, Ontario, Canada N9B 3P4 1993 © 1993 by the Humanities Research Group, University of Windsor, Windsor, Ontario, Canada, N98 3P4 L._E.D L C.,tRe HQ 1a ,CJo5 l CfCf 3 Data Canadian Cataloguing in Publication Main entry under title: Constructing sexualities (Working papers in the humanities 1) Lectures given 1 992-93 as part of the Distinguished Speaker Series II Constructing Sexualities II sponsored by the Humanities Research Group, University of Windsor. Includes bibliographical references. ISBN 0-9697776-0-4 1. Sex - History. L Murray, Jacqueline, 1953 II. University of Windsor. Humanities Research Group. Ill. Title. IV. Series. HO12.C65 1993 306.7 C93-095597-8 CONTENTS PREFACE V INTRODUCTION vii JANE ABRAY Holy Chastity: Sexual Morality in Sixteenth Century Western Europe 1 Colloquium Report 21 MARTHA VICINUS Turn of the Century Male Impersonation: Women as Sexual Actors 25 Colloquium Report 57 THOMAS WAUGH Knowledge and Desire: Dr. Kinsey as Arbiter· of the Homoerotic Imaginary 63 Colloquium Report 89 JEFFREY WEEKS Necessary Fictions 93 Living with Uncertainty 123 Colloquium Report 147 CONTRIBUTORS 151 SUGGESTED FURTHER READINGS 153 . ' I PREFACE This volume is the first of a series of Working Papers to be published by the Humanities Research Group at the University of Windsor. The HRG is dedicated to encouraging research in the humanities and especially to promoting dialogue between and across disciplines. -
The Performance of Gender with Particular Reference to the Plays Of
The Performance of Gender with particular reference to the plays of Shakespeare A thesis submitted to Middlesex University in partial fulfilment of the requirements for the degree of Doctor of Philosophy Luke Dixon School of Drama and Theatre Arts Middlesex University April 1998 MX 7309012 3 IIIýýWII IIIIIXVýýýwýýllllýý ABSTRACT An analytical history of the representation of gender on the English stage from Shakespeare to modern times is followed by a detailed examination of the National Theatre of Great Britain's production of `As You Like It' in 1967, the first production of a play by Shakespeare for over three hundred years in which the female parts were played by male actors. Subsequent cross-cast productions of Shakespeare's plays by Glasgow Citizen's Theatre, Prospect theatre Company, Lindsay Kemp, Theatre du Soleil and Goodman Theatre Chicago are discussed and the views of directors and critics of those productions analysed. The thesis then presents the results of a series of workshops with actors into the playing of gender and examines, by means of an experiment employing Gender Schema Theory, how actors construct gender in a production of `Twelfth Night'. The final part of the thesis describes a controlled experiment into audience perception of gender using a scene from `Hamlet'. Theories are presented about the nature of the performance of gender on stage and the use of theatrical conventions, the relationship between social conventions and stage conventions, about the way in which an actor builds a character, the influence of biological sex on actors' creativity, and about audience perception. TABLE OF CONTENTS Chapter I Contexts, methodology, terminology. -
Splinters: Cross-Dressing Ex-Servicemen on the Interwar Stage
Twentieth Century British History, 2018, page 1 of 28 doi:10.1093/tcbh/hwy037 Downloaded from https://academic.oup.com/tcbh/advance-article-abstract/doi/10.1093/tcbh/hwy037/5151194 by University of Exeter user on 24 January 2019 Jacob Bloomfield * The University of Manchester ............................................ Splinters: Cross-Dressing Ex-Servicemen on the Interwar Stage Abstract This article will examine how a series of theatrical shows which starred casts of cross-dressing ex-servicemen achieved critical and commercial popularity in interwar Britain despite increased cultural anxieties about the links between gender variance and transgressive acts, behaviours, and categories of identity. Prior to this study, historians have researched wartime concert parties where servicemen cross-dressed for each other’s entertainment, but scant attention has been given to the popular phenomenon of ex-servicemen who performed cross- dressing revues for the general public. Staging revues on the home front exposed cross-dressing ex-servicemen to new forms of spectatorship: the theatregoing public, arts criticism in the press, and state censorship. This article will analyse these dynamics for the first time through an investigation of the First World War troupe Les Rouges et Noirs, who popularized the subgenre of veterans’ cross- dressing revues with their debut production Splinters (1918). Critics commended the company’s contribution to the war effort while also lauding the troupe for their entertainment value and ‘bewitching’ feminine mimicry. Some observers, like the Lord Chamberlain, found Les Rouges’ cross-dressing troubling, but these views were in the minority and did not seriously hinder the performers’ success. When carried out temporarily in a performative setting by artists who presented a skilful and beguiling representation of femininity, and whose status as ex- servicemen helped to dispel suspicions of immorality, cross-dressing could be a source of great pleasure, even as it constituted a source of cultural anxiety in other contexts. -
Cross-Dressing in Orton's What the Butler Saw and Churchill's Cloud Nine
Fall 1987 23 Having It Both Ways: Cross-Dressing in Orton's What the Butler Saw and Churchill's Cloud Nine Margaret Macintyre and David Buchbinder* Fi_UTE--Nay, faith, let not me play a woman. I have a beard coming. QuiNCE-That's all one. You shall play it in a mask, and you may speak as small as you will. BOTTOM--An I may hide my face, let me play Thisby too. I'll speak in a monstrous little voice:--"Thisne, Thisne!" "Ah, Pyramus, my lover dear, thy Thisby dear, and lady dear! (A Midsummer Night's Dream, I.ii.41 -48) How, as women, can we go to the theatre without lending our complicity to the sadism directed against women, or being asked to assume, in the patriarchal family structure that the theatre reproduces ad infini tum, the position of victim? (Hélène Cixous, "Aller à la mer," trans. Barbara Kerslake) Margaret Macintyre and David Buchbinder are lecturers in the school of Communi cation and Cultural Studies at Curtin University of Technology, in Western Australia. Ms. Macintyre is interested in drama and theory, with an emphasis on feminist and Australian plays. Dr. Buchbinder's special areas include poetry, lite rary theory and the literature of the Renaissance. 24 Journal of Dramatic Theory and Criticism "A woman shall not wear that which pertaineth unto a man, neither shall a man put on a woman's garment; for whosoever doeth these things is an abomination unto the Lord thy God" (Deut. 22:5). Despite the Biblical stricture against one sex's dressing up as the other, as a cultural phenomenon transvestism has always been socially sanctioned upon specific occasions, and for specific purposes, as Bakhtin has noted in his study of medieval carnival; yet, in Western culture at least, as the frequent citing of the passage from Deuterono my shows, it has at the same time been perceived as a threat to the social construction of gender, and hence to the social order as a whole. -
Drama Revision Guide Year 7: Pantomime
Drama revision guide Year 7: Pantomime The History of Pantomime Pantomime literally means “all kinds” of “mime” (panto-mime) . It is generally acknowledged that British pantomime is modelled on the early masques of the Elizabethan and Stuart days. In the 14th century the early masques were musical, mime or spoken dramas, usually performed in grand houses although by the 17th century they were really no more than an excuse for a theme party. The timing of the British pantomime at Christmas and the role reversal of the lead characters (the principal boy being played by a girl and the Dame by a man) may have also evolved from the Tudor “Feast of Fools”, presided over by the Lord of Misrule. The feast was an unruly event, involving much drinking, revelry and role reversal. The Lord of Misrule, normally a commoner with a reputation of knowing how to enjoy himself, was selected to direct the entertainment. The festival is thought to have originated from the benevolent Roman masters who allowed their servants to be the boss for a while. Social Context Pantomimes take place around the Christmas period and are nearly always based on well known children’s stories such as Peter Pan, Aladdin, Cinderella, Sleeping Beauty etc. Pantomimes are performed not only in the best theatres in the land but also in village halls throughout Britain. Whether a lavish professional performance or a hammy local amateur dramatic production, all pantomimes are well attended. Pantomimes are a family show that aim to make both the children and parents laugh. There are recurring characters (stock characters) in Pantomimes.