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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.
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.
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.
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.
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.
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.
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