Details
Staging Queer Feminisms
Sexuality and Gender in Australian Performance, 2005-2015Contemporary Performance InterActions
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53,49 € |
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| Verlag: | Palgrave Macmillan |
| Format: | |
| Veröffentl.: | 13.04.2017 |
| ISBN/EAN: | 9781137465436 |
| Sprache: | englisch |
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Beschreibungen
This book examines sexuality, gender and race in Australia’s vibrant independent theatre and performance culture. It analyses selected feminist and queer performances that interrogate the cultural construction of sexuality and gender, challenge the normative trends of mainstream Australian society and culture and open up spaces for alternative representations of gender identity and sexual expression. Offering the first full-length study on sexuality and gender in Australian theatre since 2005, this book reveals a resurgence of feminist themes in independent performance and explores the intersection of feminist and queer politics. Ranging across drag, burlesque, cabaret, theatre and performance art, the book provides an accessible and engaging account of some of the most innovative, entertaining and politically subversive Australian theatrical works from the past decade.
<div>1. Introduction: Staging Queer Feminisms.- 2. Pleasure, Pain and the Politics of Affect: Moira Finucane’s Gotharama and The Feast of Argentina Gina Catalina.- 3. Queer Femme Drag and Female Narcissism in Yana Alana’s Between the Cracks.- 4. Disidentifying with ‘The Good Indigenous Citizen’: Constantina Bush and Blak Cabaret.- 5. Queering History, Race and Nation in Sisters Grimm’s Summertime in the Garden of Eden and The Sovereign Wife.- 6. Spectacle, Community and Memory in the Feminist Performance Art of Brown Council.- 7. Radical Feminist Adaptation in The Rabble’s Orlando, Story of O and Frankenstein.- 8. ‘Fighting the Power Never Tasted So Sweet’: Hot Brown Honey and Concluding Remarks.- Bibliography.- Index.-</div><div><br></div>
<p>Sarah French is Research Fellow at the University of Melbourne, Australia, where she completed her PhD in Creative Arts. She has lectured in Theatre and Cinema Studies and published in the areas of feminist theatre and performance, film and philosophy, television studies and higher education. This is her first book. </p>
<p>‘Sarah French’s landmark book astutely frames twenty-first-century performance considered queer and feminist within an artistic category in its own right. It is very exciting to read about these theatrically accomplished but challenging innovative performances, and the complex ways in which they are meaningful. Just as these performances merit thorough investigation, this important book equally deserves the serious attention of a wide readership.’ — Peta Tait, La Trobe University, Australia</p>
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<p>‘Sarah French’s book provides a compelling insight into ten years of vital, subversive, genre-defying Australian performance. She brings the anarchic energy of the performances alive and frames her persuasive analysis within appropriate intersectional feminist and postcolonial frameworks.’ — Sarah Gorman, University of Roehampton, UK</p><p>This book examines sexuality, gender and race in Australia’s vibrant independent theatre and performance culture. It analysesselected feminist and queer performances that interrogate the cultural construction of sexuality and gender, challenge the normative trends of mainstream Australian society and culture and open up spaces for alternative representations of gender identity and sexual expression. Offering the first full-length study on sexuality and gender in Australian theatre since 2005, this book reveals a resurgence of feminist themes in independent performance and explores the intersection of feminist and queer politics. Ranging across drag, burlesque, cabaret, theatre and performance art, the book provides an accessible and engaging account of some of the most innovative, entertaining and politically subversive Australian theatrical works from the past decade.<br></p><p><br></p>
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<p>‘Sarah French’s book provides a compelling insight into ten years of vital, subversive, genre-defying Australian performance. She brings the anarchic energy of the performances alive and frames her persuasive analysis within appropriate intersectional feminist and postcolonial frameworks.’ — Sarah Gorman, University of Roehampton, UK</p><p>This book examines sexuality, gender and race in Australia’s vibrant independent theatre and performance culture. It analysesselected feminist and queer performances that interrogate the cultural construction of sexuality and gender, challenge the normative trends of mainstream Australian society and culture and open up spaces for alternative representations of gender identity and sexual expression. Offering the first full-length study on sexuality and gender in Australian theatre since 2005, this book reveals a resurgence of feminist themes in independent performance and explores the intersection of feminist and queer politics. Ranging across drag, burlesque, cabaret, theatre and performance art, the book provides an accessible and engaging account of some of the most innovative, entertaining and politically subversive Australian theatrical works from the past decade.<br></p><p><br></p>
Represents the first book on contemporary Australian feminist theatre and performance since 2005 Presents new research and provides analysis of very recent performances Includes photographs of key works, and quotes from interviews with significant Australian theatre makers
“Sarah French’s landmark book astutely frames twenty-first-century performance considered queer and feminist within an artistic category in its own right. It is very exciting to read about these theatrically accomplished but challenging innovative performances, and the complex ways in which they are meaningful. Just as these performances merit thorough investigation, this important book equally deserves the serious attention of a wide readership.” (Peta Tait, La Trobe University, Australia) <p>“Sarah French’s book provides a compelling insight into ten years of vital, subversive, genre-defying Australian performance. She brings the anarchic energy of the performances alive and frames her persuasive analysis within appropriate intersectional feminist and postcolonial frameworks.” (Sarah Gorman, University of Roehampton, UK)</p>
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