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1	"Listen to the stories, hear it in the songs" : musical theatre as queer historiography Dvoskin, Michelle Gail 06 October 2010 (has links) This dissertation takes musical theatre seriously as a historiographic practice, and considers six musicals that take the past as their subject matter in order to interrogate how these works craft their historical narratives. While there have been studies of historical drama and performance, musicals have generally been left out of that conversation, despite (or perhaps because of) their immense popularity. This project argues that not only can musicals “do” history, they offer an excellent genre for theorizing what I call “queer historiography.” While sexuality remains one category of analysis, I use “queer” to signify opposition, not simply to heterosexuality, but to heteronormativity, and normativity more broadly. Musicals’ queer historiography, then, is a way of engaging past events that challenges normativity in form as well as content; a way of productively challenging not only what we think we know about the past, but how we come to know it. Each chapter uses a different theoretical lens to guide close readings of a pair of thematically linked musicals. The first chapter considers 1776 (1969) and Assassins (1991, 2004) as challenges to official narratives of United States history. My primary lens in this chapter is form, as I analyze how musicals’ structures influence their queer historiographic potential. Chapter 2 examines two musicals that offer histories of U.S. popular culture, Gypsy (1959) and Hairspray (2002), considering how the placement of divas at the center of each show enables a historiography that is feminist as well as queer, challenging ideas about gender and sexuality while making women central to the histories they represent. In the third chapter I look to two musicals, Falsettos (1992) and Elegies: A Song Cycle (2003), which present histories of trauma while featuring overtly gay, lesbian, and queer characters. I use these two texts to theorize how musicals might not simply present history as it “really” was, but also as it might have been, thereby offering what Eve Kosofsky Sedgwick terms a “reparative reading” of history. In examining each of my six case studies, I analyze specific performances as well as written texts whenever possible. / text Musicals Musical theatre Queer Queer studies Historiography LGBT studies Queer theatre AIDs Divas Performance
2	The WOW Factor: Lesbian Representation and Impact in Late-20th Century Theatre Maginness, Brenna L 01 January 2019 (has links) The intent of this thesis is to investigate the influence of 1980's and 1990's lesbian playwrights on modern queer representation in theatre. By analyzing the successful works of troupes and artists born out of the Women's One World (WOW) Café, it became apparent that the greatest changes in lesbian portrayal on stage came from queer and feminist authorship. Additionally, WOW Café became the common denominator in the success of many lesbian playwrights due to the freedom it gave its writers and performers. As an independent theatre, WOW allowed its members to experiment with few rules, and offered a stage to pieces too experimental, feminist, or queer to see commercial Broadway success. Thesis discussion includes analysis of historically homophobic theatre, the techniques and topics conveyed in the work of The Five Lesbian Brothers and Split Britches, and the importance of WOW as a stepping stone for the success of plays like Lisa Kron's Well. Lesbian-centric work is often left out of theatre history in classrooms even today, and by diving deeper into the important history of queer women in drama, the intent of this thesis is to add to the academia in a way that helps future lesbian artists, performers, and students recognize themselves in the narrative. LGBTQ Queer theatre The Children's Hour God of Vengeance Playwriting Theatre and Performance Studies
3	Toward The Horizon: Contemporary Queer Theatre as Utopic Activism Page, Cody Allyn 20 May 2021 (has links) No description available. Theater Theater Studies Glbt Studies Queer Theatre Utopic Activism Utopia Queer LGBTQIA Theatre Theatre for Social Change Bull in a China Shop Significant Other Choir Boy Scissoring Log Cabin The Prom A Strange Loop The Inheritance
4	Queer Legacies: Tracing the Roots of Contemporary Transgender Performance Savard, Nicolas Shannon January 2021 (has links) No description available. Fine Arts Gender Studies Glbt Studies Performing Arts Theater Theater History Womens Studies transgender performance trans LGBTQ theatre queer dramaturgy solo performance theatre historiography queer cultural production transgender history WOW Cafe queer theatre jazz aesthetic spoken word poetry QTPOC
5	Are We There Yet? Gay Representation in Contemporary Canadian Drama Berto, Tony 16 August 2013 (has links) This study acknowledges that historical antipathies towards gay men have marginalised their theatrical representation in the past. However, over the last century a change has occurred in the social location of gay men in Canada (from being marginalised to being included). Given these changes, questions arise as to whether staged representations of gay men are still marginalised today. Given antipathies towards homosexuality and homophobia may contribute to the how theatres determine the riskiness of productions, my investigation sought a correlation between financial risk in theatrical production and the marginalisation of gay representations on stage. Furthermore, given that gay sex itself, and its representation on stage, have been theorised as loci of antipathies to gayness, I investigate the relationship between the visibility and overtness of gay sex in a given play and the production of that play’s proximity to the mainstream. The study located four plays from across the spectrum of production conditions (from high to low financial risk) in BC. Analysis of these four plays shows general trends, not only in the plays’ constructions but also in the material conditions of their productions that indicate that gay representations become more overt, visible and sexually explicit when less financial risk was at stake. Various factors are identified – including the development of the script, the producing theatre, venue, and promotion of the production – that shape gay representation. The analysis reveals that historical theatrical practices, that have had the effect of marginalizing the representations of gays in the past, are still in place. These practices appear more prevalent the higher the financial risk of the production. / The author would like to sincerely thank Ann Wilson, Ric Knowles, Matthew Hayday, Alan Shepard, Sky Gilbert, Daniel MacIvor, Michael Lewis MacLennan, Conrad Alexandrowicz, Chris Grignard, Edward Roy, Brad Fraser, Cole J. Alvis, Jonathan Seinan, David Oiye, Clinton Walker, Sean Cummings, Darrin Hagin, and Chris Galatchian. / SSHRC, The Heather McCallum Scholarship, Lambda Prize for achievement in lesbian, gay, bisexual and trans-gendered studies. Daniel MacIvor Michael Lewis MacLennan Conrad Alexandrowicz Christopher Grignard His Greatness The Shooting Stage Beggars Would Ride The Orchard Drive Gay theatre Canadian Theatre Contemporary Theatre. Mainstream theatre Alternative Theatre Queer theatre Queer Canadian Theatre Gay social location of gay men gay history Vancouver B.C. lower mainland Kelowna Fringe theatre push festival wild excursions Vancouver arts club firehall theatre staging gay sex Alan Sinfield homosexuality conditions of production conditions of reception horizon of expectation four Ds homophobia gay cultural production gay youth Tennessee Williams material conditions marginalising representations of gays

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