This international collection of essays forms a vibrant picture of the scope and diversity of contemporary queer performance. Ranging across cabaret, performance art, the performativity of film, drag and script-based theatre it unravels the dynamic relationship performance has with queerness as it is presented in local and transnational contexts.

Drawing on rich interdisciplinary research that has laced the emerging subject of drag studies as an academic discipline, this book examines how drag performance is a political, socio-cultural practice with a widespread lineage throughout the history of performance. This volume maps the multi-threaded contexts of contemporary practices while rooting them in their fabulous historical past and memory. The book examines drag histories and what drag does with history, how it enacts or tells stories about remembering and the past. Featuring work about the USA, UK and Ireland, Japan, Australia, Brazil and Barbados, this book allows the reader to engage with a range of archival research including camp and history; ethnicity and drag; queering ballet through drag; the connections between drag king and queen history; queering pantomime performance; drag and military veterans; Puerto Rican drag performers and historical film.

In recent years drag performance has moved from the fringes to emerge as a mainstream phenomenon, showcased on TV shows in the US and the UK. This collection offers a diverse range of critical engagements by drag performers, makers, scholars and writers reflecting on work from the UK, USA, Israel, Germany and Australia. Moving beyond discussions of gender theory, the essays consider contemporary drag performance practices, connecting them to the histories, communities and politics that produced them. Chapters range across discussions of drag kings in the US, UK and drag and activism; the influence of RuPaul on the generation of new forms of work in New York; transfeminist critiques of drag; 'bio'/faux queens; engagements with race and ethnicity through drag performance; drag andragogy; audience concerns; drag intersections with animal personas, and how drag performance relates to personal narratives of history and identity. Collectively the contributions focus on drag as a mode of performance that is diverse and that uncorsets the easy thought that drag is simply a cross dressing man in a dress or a woman in a suit.

This international collection of essays forms a vibrant picture of the scope and diversity of contemporary queer performance. Ranging across cabaret, performance art, the performativity of film, drag and script-based theatre it unravels the dynamic relationship performance has with queerness as it is presented in local and transnational contexts.

No, Alice, I don't want to become a man, I just want to stop trying to be a woman. It's New Year in Rotterdam, and Alice has finally plucked up the courage to email her parents and tell them she's gay. But before she can hit send, her girlfriend reveals that he has always identified as a man and now wants to start living as one. Now Alice must face a question she never thought she'd ask . . . does this mean she's straight? A bittersweet comedy about gender, sexuality and being a long way from home. Rotterdam received its world premiere at Theatre503, London, in October 2015, before transferring to Trafalgar Studios, London, in May 2016. This volume contains introductory commentary and notes by Stephen Farrier from the Royal Central School of Speech and Drama, London. METHUEN DRAMA STUDENT EDITIONS are expertly annotated texts of a wide range of plays from the modern and classic repertoires. As well as the complete text of the play itself, this volume contains: - an introduction outlining the plays themes, context and performance history - the full text of the play - extensive textual notes - questions for further study.

The global higher education sector has changed dramatically as universities continue to face unprecedented challenges associated with the COVID-19 pandemic. Many are struggling to navigate this crisis while maintaining high-quality course delivery, ensuring strong student recruitment numbers, and providing clear communication to staff and students. Issues have emerged at an exponential rate, and coping with the pandemic has been particularly difficult for universities as they serve several functions, such as being educational institutions as well as major employers. Leadership and Management Strategies for Creating Agile Universities reflects on the challenges that higher education institutions have faced during the pandemic and the associated projected socio-economic impact yet to be felt. It also considers how different universities have addressed the challenges so as to learn what has and has not worked and speculates what future implications exist for the vision of a new higher education sector in a changing world. Covering topics such as developmental leadership, IT governance, and lifelong learning, it is ideal for policymakers, industry professionals, academicians, researchers, governors, decision makers, teachers, and students.

In recent years drag performance has moved from the fringes to emerge as a mainstream phenomenon, showcased on TV shows in the US and the UK. This collection offers a diverse range of critical engagements by drag performers, makers, scholars and writers reflecting on work from the UK, USA, Israel, Germany and Australia. Moving beyond discussions of gender theory, the essays consider contemporary drag performance practices, connecting them to the histories, communities and politics that produced them. Chapters range across discussions of drag kings in the US, UK and drag and activism; the influence of RuPaul on the generation of new forms of work in New York; transfeminist critiques of drag; 'bio'/faux queens; engagements with race and ethnicity through drag performance; drag andragogy; audience concerns; drag intersections with animal personas, and how drag performance relates to personal narratives of history and identity. Collectively the contributions focus on drag as a mode of performance that is diverse and that uncorsets the easy thought that drag is simply a cross dressing man in a dress or a woman in a suit.

Drawing on rich interdisciplinary research that has laced the emerging subject of drag studies as an academic discipline, this book examines how drag performance is a political, socio-cultural practice with a widespread lineage throughout the history of performance. This volume maps the multi-threaded contexts of contemporary practices while rooting them in their fabulous historical past and memory. The book examines drag histories and what drag does with history, how it enacts or tells stories about remembering and the past. Featuring work about the USA, UK and Ireland, Japan, Australia, Brazil and Barbados, this book allows the reader to engage with a range of archival research including camp and history; ethnicity and drag; queering ballet through drag; the connections between drag king and queen history; queering pantomime performance; drag and military veterans; Puerto Rican drag performers and historical film.