Titlebook: Contemporary British Queer Performance; Stephen Greer Book 2012 Palgrave Macmillan, a division of Macmillan Publishers Limited 2012 festiv

Myocyte

,Gegenüberstellung der Ergebnisse,ble terms of reference for identity — and a suspicion of the kinds of regulation described by dominant cultural discourses — on what terms might queer practitioners and audiences come together in and through performance? What kinds of identity are possible or desirable in queer performance, and on what logics of representation do they depend?

手術(shù)刀

Theorising Queer Performanceble terms of reference for identity — and a suspicion of the kinds of regulation described by dominant cultural discourses — on what terms might queer practitioners and audiences come together in and through performance? What kinds of identity are possible or desirable in queer performance, and on what logics of representation do they depend?

Estrogen

Acupressure

Dysarthria

Legitimately Queer: Identity Claims in Theatre-In-Educationobic and transphobic bullying within the British education system. That body of work has been made possible in large part by reforms to education and related social policy in the period following the late 1990s, and the rise of issue groups (such as gay rights group Stonewall) who have recognised th

致敬

思考

Staging Difference: The Rise of Queer Arts Festivalsr, then, might resonate with Sedgwick’s reading of queer performance as that which ‘spins the term outward along dimensions that can’t be subsumed under gender and sexuality at all’ (Sedgwick, 1994, pp. 8–9).

歪曲道理

Parameter

https://doi.org/10.1007/978-3-663-07480-9ation to representational claims on lesbian and gay existence. Part of that emphasis is a reflection of the Gay Sweatshop’s own preoccupations during its earliest years of practice, in turn a reflection of contemporaneous political demands that lesbian and gay subjects speak for and as themselves..

Anhydrous

Ludwig Acker,Hermann Josef Schmitzengagement with autobiographical practice also signals a return to the dialectic of ‘telling and knowing’ raised in Chapter 1, and consciousness of where the desire to tell one’s own story may be understood as a response to specific cultural contexts and political ambitions, as a strategy of empower