Thesis (M.A.)--Bowling Green State University, 2009. / Document formatted into pages; contains viii, 118 p. : col. ill. Includes bibliographical references.

Thesis (M.F.A.)--University of Central Florida, 2009. / Adviser: Earl Weaver. Includes bibliographical references (p. 95).

Thesis (M.A.)--State University of New York at Binghamton, Department of Anthropology, 2009. / Includes bibliographical references.

Thesis (Ph. D.)--University of Texas at Austin, 2007. / Vita. Includes bibliographical references.

Thesis (M.A.)--Dalhousie University, 1997. / Title from PDF t.p. (Library and Archives Canada, viewed on Oct. 9, 2009). Includes bibliographical references (p. 145-151).

Thesis (M.A.)--University of Alabama at Birmingham, 2007. / Description based on contents viewed Oct. 5, 2007; title from title screen. Includes bibliographical references (p. 99-102).

Thesis (MA)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: The thesis that is to be presented discusses the performance of drag and gender in Cape Town – namely Bubbles Bar. I argue that the performance of gender on stage through the performance of drag challenges the norms and ideas of gender in South Africa. Through the act of non-normative staged gendered performance, the participants of this study also challenge stereotypes and stigma around this in relation to the social norms and regulations that are asserted on the individual presentation and performance of gender and sexuality. I argue that the performance of gender in relation to the stage asserts the situational character of gender performance through the staged performance of drag. I assert that the staged performance of gender is made authentic by the audience who views and understands the performance as a performance of drag, and a performance of gender. The performance of drag is considered an act of transgression. Transgression in South African society is policed through acts of oppression, social and sometimes physical violence. This act of transgression is performed through drag which is viewed as an act of nonnormative gender performance. The perception of transgression places those who perform gender in a non-normative fashion upon the margins. However, that the performers are acting above gender places the performance on a higher plain. The theatrical methods, and inclusion of the audience in the performance that are used as a form of entertainment allows the participants in this research project to humanize the gendered performance of non-normativity by education through the art of their performance. / AFRIKAANSE OPSOMMING: Die tesis wat aangebied word bespreek die vertoning van “drag” en geslag in Kaapstad - naamlik in Bubbles Bar. Ek voer aan dat die opvoering van geslag deur “drag” op die verhoog normes en idees van geslag in Suid-Afrika uitdaag. Deur hierdie nie-normatiewe geslagsopvoering daag die deelnemers van hierdie studie ook stereotipes en stigma rondom geslag uit, met spesifieke betrekking tot die sosiale normes en regulasies wat op die individuele aanbieding en vertoning van geslag en seksualiteit geplaas word. Ek argumenteer dat die uitbeelding van geslag in verhouding tot die verhoog die situasionele karakter van geslag deur die opgevoerde vertoning van “drag” handhaaf. Ek voer aan dat die verhoogvertoning van geslag eg gemaak word deur die gehoor wat die vertoning aanskou en verstaan as 'n vertoning van “drag”, en ook 'n vertoning van geslag. Die opvoering van “drag” word beskou as 'n daad van oortreding. Oortreding in die Suid- Afrikaanse samelewing word gepolisieër deur dade van onderdrukking, sosiale en soms fisiese geweld. Hierdie daad van oortreding wat opgevoer word deur middel van “drag” word beskou word as 'n daad van nie-normatiewe geslagsgedrag. Die persepsie van oortreding plaas diegene wat geslag opvoer op 'n nie-normatiewe wyse, op die kantlyn. Deurdat die deelnemers/kunstenaars optree buite die normatiewe idee van geslag, plaas dit die vertoning op 'n hoër vlak. Die teatriese metodes, en die insluiting van die gehoor in die opvoering wat gebruik word as 'n vorm van vermaak, laat die deelnemers aan hierdie navorsingsprojek toe om die geslagtelike vertoning van nie-normatiwiteit te vermenslik met opvoeding deur middel van die kuns van hul vertoning.

This dissertation explores how female-born or female-bodied gender variants perform and represent their masculinities in American performance art and drag king shows. A drag king refers to a woman or female-born person who performs their gender as fluid, usually wearing masculine costumes and make-up. I focus on how race, ethnicity, and class are involved in performing female masculinities on stage, and how the intersections of other social vectors produce myriad differences in terms of stakes, styles, and forms of masculinity. I examine how female-born queer performers foreground the constructed nature of masculinity, and how they redefine established categories of gender and sexuality through performance. I argue that queer performances of female masculinities deconstruct the heteronormative gender binary and embody alternative configurations of sex, gender, class, race, and sexuality. In my first chapter, I address Peggy Shaw's Menopausal Gentleman (1997) and To My Chagrin (2003). I examine how she portrays aging white butch masculinity, sexuality, and emotion, through the reinterpretation of menopause and musings on her own whiteness. My second chapter provides a critical reading of kt shorb's [sic] of chicks, dicks, and chinks (2005) and D'Lo's Ramble-Ations (2006). Investigating the effeminization of Asian masculinity and multicultural racial performativity, I illuminate how Asian-American female masculinities are differently constituted in the interplay between class, ethnicity, diaspora, and cultural identities. In my third chapter, I analyze the 6th (Chicago, 2004) and 8th (Austin, 2006) International Drag King Extravaganza showcase performances. I describe how they reveal the theatrical nature of masculinity, and how they mark race, class, and ethnicity. In addition, I discuss how they valorize gender fluidity and multiplicity, staging queer desire and pleasure. Throughout this dissertation, by offering complex illustrations of masculine genders of the female body or the gender-ambiguous body, I contend that female-born gender variants disrupt the equation of masculinity to maleness through their theatrical performances of masculinities. I conclude that performing female masculinities can foster the critical artfulness of gender by engaging in social criticism of gender, class, race, ethnicity, and sexuality.

Esta pesquisa analisou o efeito transgressor de gênero artístico, de identidade de gênero, de sexualidade e de comportamento social apresentados na peça teatral Escravagina, produzida pelo grupo Rainha de Duas Cabeças, de Curitiba-PR, produção teatral estreada em 2014. A peça conta com dramaturgia e direção de Cesar Almeida e com atuação da atriz Maite Schneider. O espetáculo narra a história pessoal da atriz que passou por um processo de transexualização. Na peça são discutidos padrões de beleza corporal, instituições normatizadoras e reguladoras de sexualidade, gênero, orientação sexual, desejo e comportamentos sociais impostos. Buscamos compreender a maneira como os artistas utilizaram-se das tecnologias e das técnicas de cena, ou seja, os elementos e procedimentos constituintes para a produção do espetáculo teatral com o propósito de transgressão (FOUCAULT, 2009) das noções socialmente estabelecidas sobre identidades focadas em polaridades ou identidades fixas. Nossa pesquisa apontou para a utilização de traços do grotesco e da carnavalização (BAKHTIN, 2013), do kitsch (MOLES, 1975), da ironia, da paródia e do intertexto (HUTCHEON, 1991), do hibridismo cultural (CANCLINI, 2013), do Business gay (LIPOVETSKY, 2015), do paradoxo (COMPAGNON, 2010) e da profanação (AGAMBEN, 2007), percebidos por meio de elementos e procedimentos que incluem uma ou múltiplas técnicas/tecnologias da cena para obtenção do efeito desejado. Nossa pesquisa também questionou as aproximações entre corpo e tecnologia e sua relação com a transexualidade. Para tanto, o estudo se utilizou de metodologia da Análise dos Espetáculos (PAVIS, 2015) e da Análise Matricial (BRITO, 1999). Os materiais primários de análise foram o vídeo do espetáculo e o texto teatral. Como material secundário utilizamos as entrevistas realizadas com os artistas (em 2015 e em 2016), o material de divulgação, o paratexto publicitário, os diários de itinerância e a tomada de notas realizada pela pesquisadora durante a observação in loco do espetáculo, assistido no ano de 2016. / This research analyzed the transgressive effect of artistic genre, gender identity, sexuality and social behavior presented in the play Escravagina, produced by the group Rainha de Duas Cabeças, from Curitiba/PR, a theatrical production premiered in 2014. The play counts on the dramaturgy and direction of Cesar Almeida, as well as the performance of the actress Maite Schneider. The show narrates the personal story of the actress who underwent a process of transsexualization. In the play, the standards of body beauty are discussed, as well as the normative institutions and regulators of sexuality, gender, sexual orientation, desire and social behaviors imposed. We seek to understand the way in which the artists used the technologies and techniques of scene, that is, the constituent elements and procedures for the production of the theatrical spectacle, with the purpose of transgression (FOUCAULT, 2009) of socially established notions on identities focused on polarities or fixed identities. Our research pointed to the use of traces of the grotesque and carnivalization (BAKHTIN, 2013), of kitsch (MOLES, 1975), the irony, parody and intertext (HUTCHEON, 1991), the cultural hybridity (CANCLINI, 2013), the Business gay (LIPOVETSKY, 2015), paradox (COMPAGNON, 2010) and the profanation (AGAMBEN, 2007) perceived by means of elements and procedures that include one or multiple scene techniques/technologies to achieve the desired effect. Our research also questioned the approximations between body and technology and their relation with transsexuality. For this, the study was based on the methodology of Analysis of Spectacles (PAVIS, 2015) and Matricial Analysis (BRITO, 1999). The primary materials of analysis were the video of the theatre show and the theatrical text. As secondary material, we used interviews with the artists (in 2015 and 2016), the advertising material, the advertising paratext, the itinerancy journals and the notes taken by the researcher herself during the on-site observation of the theatre show assisted in 2016.

陳澤蕾. / 呈交日期: 2005年9月. / 論文(哲學博士)--香港中文大學, 2005. / 參考文獻(p. 156-174). / Cheng jiao ri qi: 2005 nian 9 yue. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Lun wen (zhe xue bo shi)--Xianggang Zhong wen da xue, 2005. / Can kao wen xian (p. 156-174). / Chen Zelei.