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By David Savran

In attractive, available prose, best theater critic and cultural commentator David Savran explores the intersections among artwork and tradition, supplying clever, compelling interpretations of the commercial and social contexts of theatrical texts and practices. Acknowledging theater's marginal prestige in U.S. tradition, A Queer type of Materialism takes on "the trouble-makers--the ghost, closeted gay, masochist, drag king, 3rd international laborer, even the white male as victim"--who determine extra prominently in theater than in different cultural varieties. In impeccably researched and argued essays that diversity in subject material from Rodgers and Hammerstein to Paula Vogel, from unexpectedly final summer season to Iron John, Savran uncovers the ways in which such troublemakers either problem and strengthen orthodox social practices.
The decisions offered listed below are via turns enjoyable, informative, subtle, and polemical, reflecting the author's twin citizenship as rigorous pupil and fascinating theater critic. This ebook additionally presents a version for one of those queer ancient materialism that would turn out important to a variety of disciplines, together with theater and function, gender and sexuality, queer/gay/lesbian/transgender reviews, American reports, and well known culture.
David Savran is Professor of Theater, the Graduate middle, the town collage of recent York, and writer of Cowboys, Communists, and Queers and Taking It Like a Man.

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A queer sort of materialism : recontextualizing American theater

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Most lesbian Writers and performers flourish downtown in more modest arenas, where their presence (like that of their gay brethren on Broadway) has become virtually synonymous with a variety of edgy performance that challenges the canons of realism as well as bourgeois social, political , and sexual mores. And while lesbian performance may be marginalized, 64 1 1 1: 1 "I The Queerest Art A Queer Sort ofMaterialism the downtown performance circuit is able to offer artists like Holly Hughes or Split Britches a measure of control over the means of pro­ duction that Broadway (and even off-Broadway) writers sacrifice to the more corporatized interests of the large producing organizations.

Only Paula Vogel and Mar­ garet Edson (whose works have been showcased off-Broadway and awarded Pulitzer Prizes) have managed to have their plays widely per­ formed. Yet Vogel's most successful plays and Edson's Wit are heterosex­ ualized dramas-or at least seem so to the untutored eye. Most lesbian Writers and performers flourish downtown in more modest arenas, where their presence (like that of their gay brethren on Broadway) has become virtually synonymous with a variety of edgy performance that challenges the canons of realism as well as bourgeois social, political , and sexual mores.

And while lesbian performance may be marginalized, 64 1 1 1: 1 "I The Queerest Art A Queer Sort ofMaterialism the downtown performance circuit is able to offer artists like Holly Hughes or Split Britches a measure of control over the means of pro­ duction that Broadway (and even off-Broadway) writers sacrifice to the more corporatized interests of the large producing organizations. The success of gay men on Broadway and in regional theaters is in part the result of the work of their many distinguished-and closeted­ forebears.

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