Queer theory and performance

Greining á fjórum ljóðaflokkum frá fjórum löndum Úrdráttur: Í þessari ritgerð mun ég bera saman fjóra ljóðaflokka frá fjórum mismunandi löndum og skoða mismun þeirra. Aðal áhersla mín verður á ljóðaflokkinn Die schöne Müllerin eftir Franz Shcubert og fyrst og fremst túlkun og skilning ljóðatextans í ljóðaflokkunum. Skoðað verður hvort tungumál og/eða þjóðfélags aðstaeður geti haft áhrif á hvernig tónlist og ljóðatexti er skapaður.

Τέρατα, υβρίδια και ερείπια. Η ριζοσπαστική κουίρ τέχνη του Ευριπίδη Λασκαρίδη 1 Το έργο του σκηνοθέτη και περφόρμερ Ευριπίδη Λασκαρίδη κατέχει μια ιδιαίτερη θέση στη σύγχρονη ελληνική σκηνή, χάρη στην εγγενή πρωτοτυπία και την καινοτόμο επινοητικότητά του. Δεδομένου ότι πρόκειται για ολικό σκηνικό κονστρουκτιβισμό που

Að þekkja sinn vitjunartíma Elías Mar, tvíkynhneigðin og fyrstu skáldsögurnar Í septembermánuði árið 1945 sat rúmlega tvítugur íslenskur rithöfundur að nafni Elías Mar (1924-2007) við skrifborð í herbergiskytru í Reykjavík og skrifaði í rauða minnisbók. Hann var staðráðinn í að ná frama á bókmenntasviðinu, hafði birt nokkur ljóð, smásögur og greinar í tímaritum en það gekk hvorki né rak að skrifa fyrstu skáldsöguna, Man eg þig löngum, sem hafði blundað í honum í mörg ár. Helstu hindranirnar voru tíma-og einbeitingarskortur en Elías var í fullu starfi á Alþýðublaðinu og átti fullt í fangi með að sinna því. Auk þess þráði hann að komast til útlanda og víkka sjóndeildarhringinn en hann var blankur og fastur í sporum sem hann var ósáttur við. "Ég verð að taka til einhverra andskotans bragða til þess að fá mig til að vera eins og maður," skrifaði hann í minnisbókina sem hann kallaði Skáldu: "Ég verð að taka til einhverra bragða. Ég verð." 1 Skömmu síðar fékk Elías hugmynd sem breytti lífi hans: að leggja handritið til hliðar og skrifa nýja skáldsögu frá grunni. 14. október skrifaði hann í Skáldu: Það hlaegilegasta við þessa sögu er það að við samningu hennar nota ég vinnubrögð, sem ég hefi ekki áður reynt, og sem ég hefi andstyggð á. Þau eru þannig að [ég] skrifa þrjár síður þéttletraðar og stórar á hverjum degi,-en hvorki meira né minna. Með þessu móti aetla ég mér að vera búinn að skrifa uppkast skáldsögunnar allrar fyrir nýár og jafnvel vinna að henni og ljúka við hreinritun þriðjungs hennar fyrir áramótin. Ég vanda mig ekkert með hana, 1

Gazing at the racks of DVD films on sale in high street music stores, my eye is drawn towards the black and white covers showing elegant and simple images wrapped around collections of films starring Rita Hayworth, Lana Turner, Bette Davis and other Hollywood greats. Partly, it is the images that catch my attention; they seem calm and refined in a mass of colour and frenzy. But it is also the lure of romance, nostalgia and elegance that they evoke. This glamour and nostalgia is frequently referenced in modern society-at red carpet events and period dramas and films, on handbags depicting Audrey as Holly Golightly, in makeovers and TV shows such as the recent Ladette to Lady on British TV. There is something about the stars of yesteryear which draws us, and for the most part it is not that we are aware of the roles they played in the movies, or their artistic endeavours: it is their image with which we are familiar. This is a fascinating idea; how has a public who has little idea of the lives of the stars built and / or maintained an admiration, or at least a clear recognition of their faces? The importance of the still photograph in creating this sealed image is central. The photograph performs one of the most crucial roles in the production of stardom in making an actor or actress (and I unashamedly concentrate my own vision on the actress for the purposes of this analysis) both visible and memorable to their public. The photographer, through the magic and power of the photographic image, becomes the star-maker. This paper will attempt to examine the ways in which the photograph, or in some cases particular photographers and their muses, has / have fulfilled this function. To provide an historical context leading up to the celebrity images of the 1930s and 1940s, it is necessary to start by examining the conjoining of photography and the public fascination with the celebrity image through the Victorian phenomenon of the carte de visite. The fascination for images of popular famous faces was a marriage made in heaven for the burgeoning film industry. The development of stills photography associated with this bears testament to the desire of the public, the actors and the film studio for images which created connections, forged relationships and generated income. This period of development in still photography lasted well into the beginning of the twentieth century, and it is here that it becomes necessary to move focus on to the start of the phenomenon of the Hollywood film industry. From small beginnings, the importance of still photography rose within the studio system to hold great importance and sway, both with film production and audience attraction. This leads into what can be termed the height of real worship and adulation at the temple of the stars; the 1930s and 1940s. This is a pivotal point in the connections and relationships between the public and their celebrities-the 'passage from awe to charm' in Roland Barthes terms. The 1930s were a period of economic depression leading into great political upheaval and on to World War II. The 1940s were also times of hardship, loss and uncertainty. Throughout, the role of the film star offered many things to a disparate and suffering public. That the public were interested in the lives and stories of their favourite celebrities is borne out by the plethora of movie

This essay maps how wedding rituals and the performance of those rituals have played out visually in the past and how the emergence of digital photography has visibly altered the understanding and practice of wedding photography in India. The gradual phasing out of the traditional wedding video-wallah and the standard frontal shots have given way to Photoshopped, colour corrected images, ready for consumption as coffee-table books. Drawing their theoretical gravitas from the practices of journalistic and fashion photography, contemporary wedding photography practices offer an exciting inquiry into the re-imagining of wedding photography in the lives of the Indian middle-class. Additionally, this essay also reflects on the changing figure of the bride-candid wedding photography now seems to position the bride as a free-floating signifier, occupying the space of 'the bride'a symbol standing in for all brides. This essay argues that the bride within the photograph does not seem to belong in it, and suspended from reality, exists in the realm of fantasy. Another emerging phenomenon within the changing visual discourse of wedding photography is also the 'joy of sharing' and the joy of 'demonstrating joy' through online social networking sites where celebrity wedding photos and every day social media users' photos exist in the same universe, speaking to each other, and referencing similar ideas of love, marriage and conjugality. Subsequently this essay also explores the process of self-representation and the pleasure of sharing these images on social networking sites such as Instagram. Related to these concerns is also the fact that changing technology and contemporary digital culture has brought into focus how our lives are increasingly played out online, the digitalization of our shared memories and the impact of digital technologies on our daily lives.

P art of a seventy-one-billion-dollar industry, wedding businesses thrive even as the public continues to debate the viability of marriage while facing uncertain economic times. 1 The explosive rise of the wedding culture in the twenty-first century, evidenced by popular bridal reality television shows such as A Wedding Story, Bridezillas, and Say Yes to the Dress (all airing and rerunning between 1996 and the present), urges women to have ever more extravagant weddings, and many of them acquiesce to those societal pressures. With dreamlike qualities, modern weddings evoke romance, allure, fashion, style, and glamour. Even when the intention is to achieve a modest style of simple elegance, it is not uncommon to pay an outrageously high price tag-an average amount of twenty-eight to thirty thousand dollars-in order for the bridal body to become the site of lavish attention commanding gazes from near and far. 2 Like most Americans, when a bride who identifies herself as Asian or Asian American weds, she goes through this similarly extensive process of imagining, planning, and realizing those costly romantic fantasies. 3 Despite the rising social, cultural, and economic status of Asians in the United States, the mainstream bridal market initially did not actively seek to address their needs, nor did merchants realize that the multiple cultural rites ethnic brides are expected to fulfill would yield such tremendous profit. All this began to change by the early 1990s, owing largely to immigrant entrepreneurs from East Asia, mainly Hong Kong and Taiwan,

In this article, I demonstrate how Louise Bourgeois used her artworks not only to better understand herself but also to cultivate a self capable of taking control of and reshaping the material of her past. Exploring her artworks in the context of Michel Foucault's understanding of technologies of the self, I both contribute to the appreciation of Bourgeois' work and show how visual artworks can be used to understand, cultivate, and transform aspects of the self. Foucault's understanding of our subjectivity, as formed and deployed by power tactics, suggests the need for the formation of new subjectivities as a tactic of resistance. While his view of subjectivity as contingently created allows for the possibility that it could be different, his understanding of the conditions of its creation in terms of power tactics seems to constrain the possibilities for alternative subjectivities. I argue that artworks can help us understand the contingency of our subjectivity and illustrate how something new can be created out of existing conditions, in ways that may disrupt those very conditions. Further, in addition to bringing us to an awareness of the possibility of creating new subjectivities, artworks can directly contribute to this process for both artists and audience members. Turning to Foucault's own understanding of Stoic writing practices as a means of knowing and controlling the self, I use Bourgeois' work to illustrate how artworks can operate as technologies of the self, which work directly on the self, extending Foucault's understanding of the role of writing to consider the particular contribution that visual artworks can make. I explore how the visual form, sculptural medium, and materials of Louise Bourgeois' works contribute to their operation as technologies of the self which can allow one to relate to oneself differently.

"Knowing Your Time Has Come: Elías Mar’s Bisexuality and His First Novels"

Elías Mar (1924–2007) left behind an archive that shows a unique insight into the life of a young bisexual writer in mid-twentieth century iceland. it includes, among other things, notebooks and manuscripts that shed light on the development of Mar’s identity and early writings. This article builds on these documents and dis- cusses how Mar realises “his time has come” in the late 1940s; when he accepts his same-sex desire while working towards becoming an acknowledged writer. The goal is to place Elías Mar and his writings in the context of icelandic queer history, as well as literary history, and show how these two aspects of his identity – the writer and the bisexual – are shaped simultaneously and how they influence each other. Mar’s first two novels, Eftir örstuttan leik (1946) and Man eg þig löngum (1949), are under consideration, including their conception and role in the process that began when Mar was a young writer experiencing an existential crisis. This process came to an end, so to say, in 1950, when he had published four books and was about to become a part of the group of notorious bohemians and queers who gathered at Laugavegur 11 in Reykjavík. That same year he emerged as a queer writer when he wrote an article for an icelandic magazine and urged his readers to face “the love that dare not speak its name” and respect human diversity.

Cet article est une experimentation qui presente une éthnographie d'artiste.
En utilisant les techniques de enuetes qualitatives et de life story, le dialogue avec l'artiste Damien Rouxel, a été porté à une biographie ethnographique et aesthetique de sa pratique performative. Écrit par un public large et lecteur.e.s varié.e.s cette ethnographie d'artiste cherche de tracer dans la vie de l'artiste les éxpériences humaine et sociales de l'artiste qui forment sont etre et son expression porfessionelle.
On discoute d'anthropologie de l'anthropologie de l'art et de la perfromance queer.

Theatricality, though, it seems clear that the concept is closely related to performance or performativity; it inspires far more ambivalence and is employed in less consistent ways. "Andha Yug" (1953) by Dharamvir Bharati is one of the most significant plays of modern India; Set in the last day of the Great Mahabharata war, the five-act tragedy was written in the years following the 1947 partition of India atrocities, as allegory to its destruction not just of human lives, but also ethical values-the play is a profound meditation on the politics of violence and aggressive selfhood. It is the ambivalence of theatrical jurisprudence that makes "Andha Yug" an appropriate example to study the theories of theatricality. It tells the story of modern human tragedy symbolically and metaphorically using the characters from Mahabharata. Through these characters, Bharati has commented upon tragedy of our times. A composition, Andha Yug is a perfect balance between drama and poetry, where the theatricality is further expounded by Bharati adapting the classical structure of Indian drama with Greek Chorus. The Mahabharata is about power politics, about national disintegration and schisms; the Indian here confronts the forces of history. It is these darker aspects of political conflict that Bharati brings the foreground in his theatrically poetic interpretation of the epic in Andha Yug. The vast expanse of Indian epics and the kaleidoscope of folklore provide enough material for a theatrical production exploring almost all aspects of the stage. The action of the play takes place on the last day of the Mahabharata war and is centered on a few bewildered survivors of the Kaurava clan. The ramparts are in ruins, the city is burning, and Kurukshetra is covered with corpses and vultures. The surviving Kauravas are overwhelmed by grief and rage. They long for one last act of revenge against the Pandavas. That is why when Ashwatthama releases the ultimate weapon, the brahmastra, which threatens to annihilate the world, they refuse to

Dans le cadre de cet article, nous proposons une analyse de l’œuvre de l’artiste-performeur montréalais 2Fik dans le but de faire ressortir la manière dont il conçoit, construit et performe l’identité québécoise dans une optique intersectionnelle. Nous situons d’abord son travail dans le contexte des politiques identitaires qui imprègnent le Québec actuel, remontant jusqu’à l’émergence de la crise des accommodements raisonnables en 2006. À la suite d’une analyse du discours, notamment législatif, nous partons du principe que l’idée d’une identité québécoise de souche constitue une construction sociale et politique. En nous appuyant sur le concept théorique de désidentification de José Esteban Muñoz, nous montrons, à travers l’analyse de deux de ses œuvres photographiques, que 2Fik recycle et recode des stéréotypes caricaturaux pour ensuite déconstruire la conception essentialiste de l’identité québécoise. Ce faisant, il utilise la performance queer comme un outil pour penser le Québec dans sa pluralité intersectionnelle.

This section of the work will look at gender identity disorder in the era of scientific improvement. The first part of this section will look at scientific innovations in the field of sexuality, starting with "chemical lobotomy…shut down the higher functions of…brain…" (4:48 Psychosis, 14). Attention will also be focused on hormonal therapy recommended by hospitals, prior to possible clinical surgery. For example, in Cleansed, Grace undergoes a hormonal therapy before a clinical surgery that is carried out on her and her sex is reassigned. The last part of this section will be

While LGBTQ+ narratives have become an established part of national storytelling in contemporary theatre in the United States, considerably more often than not such plays and productions focus on urban queer experiences rather than the rural. Many queer theorists, including Jack Halberstam, have argued that such a lack of representation is grounded in the false notion of a “metronormativity” suggesting that queers must migrate to the city in order to survive. Through critical readings of two recent revival productions of canonical American works, Christopher Alden’s Peter Pan (2017) and Daniel Fish’s Oklahoma! (2018), I demonstrate how queer rurality was presented conceptually and dramaturgically, reconfiguring ideologies of nationalism that would see the urban/rural as a polarized binary. Drawing on my own personal experience, I extend Eve Kosofsky Sedgwick’s foundational theory of the closet (in/out) through my original concept of, “closet ajar,” critically unpacking the imagined constructs of these productions where rural queers are alternatively presented as a part of the community at large. I argue that these productions open possibilities for future representations of queer intersectional rurality in American performance (and beyond) and scholarship across disciplines

Documenting my encounters as a white queer scholar with the sonic archive of the late Black American lesbian comic Jackie “Moms” Mabley, this paper explores the cross-racial/sexual politics of sonic historiography. Through what I term listening backward, I examine how sound procures queer sonic intimacies between critic and subject: the repetitive listening, soundwaves directly travelling from one voice to one person, and most pertinently, the historical and sociocultural contexts that make consumption of such exchange possible and/or fraught. This listening practice centres on relational and resonant modes of archiving through sound and asks: (1) How can exploring methods of sonic documentation align performance studies’ commitment to archiving the affective? (2) What might attention to not only the product of such documentation but also its performative processes offer about how the sonic can deepen modes of performance historiography and the racial/sexual politics of listening? (3) What practices of listening can centre queer intimacies and temporalities in the archive?

"Huysuz Virjin wouldn't be so glad to meet us," says Madır Öktiş, the organizer of latest drag performance show in Istanbul, "but she is still our grand-drag-mother". Indeed, Huysuz Virjin (Seyfi Dursunoğlu) would be so surprised to see the new dimensions of this performance art if she had the chance. In one of her interviews, she says, "So many artists will come and go, but no one will achieve what I did" (Atay and Akşit 154). Today, drag surely has changed a lot in Turkey-particularly, in Istanbulian nightlife, and there are surely much more drag performers than Huysuz could imagine, but she may have a point while arguing that no one will achieve what she did. Of course, this achievement cannot be considered independent from the achievement of her childhood friend, Zeki Müren. Even though they did not like each other so much during the peak of their careers; today, Seyfi Dursunoğlu mentions in his interviews how empowering it was for them to have each other: two queers leading the entertainment sector of Turkey, one is leading the music sector, and the other one is leading comedy, pioneering a new field of performance art. Seyfi Dursunoğlu was completely aware of how a difficult task he "accomplished" (Atay and Akşit 262) while pioneering the drag performance art in Turkey, an Islamic country. After all, drag has always been a performance art that violates the social norms critically. So, in this paper, I intend to explore the evolution of drag performance in Turkey (from Grumpy Virgin to today's nightlife) to see the queer thrive within a conservative regime, the socioeconomic status of either performers or viewers, and the extent to which drag is a reconciliation of gender identity & expression. With such queer approaches to performance studies, I intend to increase the visibility of queer minorities in pro-Islam traditions and cultures.

Geliebter Sascha (Beck)

hier ein subjektiver Auszug vom Text "Sexualität in der Krise" über Heteronormativität, Neoliberalismus und queeres Leben von Sabine Hark und Mike Laufenberg mit suubjektiven Hervorhebungen und Ergänzungen (3 aus 19 Seiten)
LOVE
Your
Ravi

In April zoo4 | found myself in tears.This was unusual because, barring any major crises in my life, I am rarely given to such uncontrolled outbreaks of sentiment. I was happy in love, my soon-to-be new neighbours from hell were still yet to move in, and my professional life seemed to be ticking over nicely. l'm no psychiatrist or psychoanalyst but looking back I can't readily identify anything eitherthen or before which might be considered the triggerfor, or which could potentially explain, this uncharacteristic emotional episode. No trauma or upset. N oth i ng. But l'm not writing this to reflect upon my personal affective disposition and its seeming anomalies. Rather what leads me to take this episode as my subject hereand what makes it all the more intriguing to me-is that it took place on a boat moored on the RiverThames, sitting in the audience at a Kiki and Herb performance. Kiki and Herb, a.k.a. performers .Justin Bond and Kenny Mellman, are a latter-day lounge-cum-queer cabaret act who have risen from being the darlings of the Manhattan queer scene in the mid-r99os to becoming a significant presence in the early years ofthe 21st century on the theatrical circuit in the us and Europe. Recently they have sold out Carnegie Hall in NewYork and played venues like the BloomsburyTheatre and the Queen Elizabeth Hall in London.'The premise of their act

Over the first two chapters, Fletcher teases out definitions and engages with the divide between the faith and secular spheres. Despite the progressive Left's stance of tolerance and radical democracy, opposition to certain key causes-pro-life arguments,

Disability scholarship has tended to focus on embodied disability rather than psychiatric impairments. Obsessive-Compulsive Disorder, which some scholars classify as an invisible disability, is one such psychiatric impairment that wants for scholarly attention. The article extends the conversation on OCD by exploring the correspondences between obsessive ritualizing and durational performance art, sometimes called “body art” or “time-based performance art.” Performance art can helpfully serve as a kind of periscope—a device enabling a viewer to see something else held at a remove—to examine OCD without placing the burden of representation onto individuals who self-identify as obsessive- compulsive. Reading disability into a performance piece not explicitly about disability enables us to trouble OCD’s status as strictly invisible. Studies of OCD’s representational challenges can enrich disability theory by offering a way to conceive of disability as embodied but not visible, or, alternately, as invisible but existing in the body.

Films of Andy Warhol provides access to 1960s New York, a time and place not only overlaid with personal memories for Crimp, but also, relatedly, in which queer culture flourished, albeit on the periphery and out of sight of mainstream America. It forms an originary moment for Crimp personally and intellectually, existing prior to the high level of visibility currently enjoyed by the LGBTQ movement. Visibility operates metaphorically, as exemplified by the phrase "coming out of the closet," and literally, as demonstrated by pride parades, media presence, and gay politics being the subject of open debate and legislation. However, increased visibility is double-edged. It may create or reinforce a sense of queer identity and community and eventually lead to greater acceptance by mainstream culture, but it can also foreclose alternative modes of sociability and mark individuals and groups as targets for discrimination, surveillance, or violence. As Leo Bersani stated: "Once we agreed to be seen, we also agreed to being policed." 1

With a view to interdisciplinary dialogue(s) between queer theory and disability studies, this article discusses the work of Bob Flanagan and his partner Sheree Rose. Specically, it focuses on their queer S/M practices as a strategy of negotiating disability/pain, but also as a practice rede ning notions of (disabled) embodiment. It also discusses Flanagan and Rose's queer/crip politics as an opening for "desiring disability."

In the early 1980s Michel Foucault asked, "Why in our society [has] art become something which is only related to objects, and not to individuals, or to life?" He was simultaneously asking "how to evade power? how to live otherwise in the death-grip of today?" To partially answer Foucault's questions, we need only love around and see and feel embodied artworks. Indeed, within the contemporary landscape, one such life can be found: Ms. Vaginal Davis-one of the originators of the Homocore punk movement and a performance and body artist. In the words of Ms. Davis, "I am a walking installation piece-a work of art". i Of course Ms. Davis is not alone in her project,  Per Amelia's advice, expand upon this as a backdrop   Trace the avant-guard line to the 50s/60s to theorists to now (VagDavis) throughout history there have been artists who have implemented what can be called an "aesthetics of existence"  examples: within art and performance: the Baroness von Elsa, Antonin Artaud, Andy Warhol; in an aesthetics of existence in the daily world: Arthur Craven, the figure of the flânuer, and in literature  Burroughs, Acher, Wonjarowicz (art and lit); in philosophy  Foucault, Deleuze and Guattari …