The Palgrave Handbook of Queer and Trans Feminisms in Contemporary Performance
Book 1
Book 2
Book 3
Book 1
Book 2
Book 3
Book 1
Book 2
Book 3
Book 1
Book 2
Book 3
Home > Art, Film & Photography > Performing arts > The Palgrave Handbook of Queer and Trans Feminisms in Contemporary Performance
The Palgrave Handbook of Queer and Trans Feminisms in Contemporary Performance

The Palgrave Handbook of Queer and Trans Feminisms in Contemporary Performance


     0     
5
4
3
2
1



Available


X
About the Book

The purpose of this Handbook is to provide students with an overview of key developments in queer and trans feminist theories and their significance to the field of contemporary performance studies. It presents new insights highlighting the ways in which rigid or punishing notions of gender, sexuality and race continue to flourish in systems of knowledge, faith and power which are relevant to a new generation of queer and trans feminist performers today. The guiding question for the Handbook is: How do queer and trans feminist theories enhance our understanding of developments in feminist performance today, and will this discussion give rise to new ways of theorizing contemporary performance? As such, the volume will survey a new generation of performers and theorists, as well as senior scholars, who engage and redefine the limits of performance. The chapters will demonstrate how intersectional, queer and trans feminist theoretical tools support new analyses of performance with a global focus. The primary audience will be students of theatre/ performance studies as well as queer /gender studies. The volume’s contents suggest close links between the formation of queer feminist identities alongside recent key political developments with transnational resonances. Furthermore, the emergence of new queer and trans feminist epistemologies prompts a reorientation regarding performance and identities in a 21st-century context.  

Table of Contents:
1. INTRODUCTION: QUEER AND TRANS FEMINIST PERFORMANCE; Sandra D’Urso, Tiina Rosenberg, and Anna Renée Winget.- 2. BUTCH WOMAN: A MEDITATION; Sue-Ellen Case.- 3.THE BUTCH MONOLOGUES: PERFORMANCE AS A BRIDGE FROM “BORDER WARS” TO “PLAYGROUND”; Alyson Campbell.- 4. ON TRANSLATION: GAY INC.ORPORATED THE TRIANGLE AND THE FARTING UNICORN; Sam Bourcier.- 5. THE UNDISCIPLINED BODY: PHIA MÉNARD AND HER EXPERIENCE OF ORGANIC PERFORMANCE; Stefania Lodi Rizzini.- 6. PERFORMING IMPROPER DESIRES: THE UNINTELLIGIBILITY OF CONVERT BLACK MUSLIM WOMEN; Jan Mendes.- 7. IM/POSSIBLE UN/VEILINGS: ASIFA LAHORE AND BRITISH-ASIAN MUSLIM DRAG PERFORMANCE; Claire Pamment.- 8. ALIENATED FLESH AT THE PLACE OF TRAUMA AND DEATH: UNEARTHING THE BLACK (QUEERED) UN-HUMAN IN SUZAN-LORI PARKS’ ONE CHARACTER PLAY PICKLING; Jaye Austin Williams.- 9. YOU CAN’T HOLD MY BABY: AN OPEN LETTER TO PREDOMINANT WHITE INSTITUTIONS OF THEATRE ARTS; Leelee Jackson.- 10. ACTIVATING CIS WHITE FRAGILITY: THE OPPOSITIONAL GAZE IN TRAVIS ALABANZA’S LEFT OUTSIDE ALONE; Beck Tadman.- 11. BETWEEN MESS AND METHOD: PERFORMANCE ART ECONOMIX/TURES; Esther Neff.- 12. WHOSE PRIDE IS THIS ANYWAY? THE QUARE PERFORMANCE OF THE #BLACKPRIDE; Zane McNeill and Kyra Smith.- 13. IT HAPPENED TO #METOO: QUEER FEMINIST CRITIQUE OF CISGENDER WHITE FEMINISM; Tiina Rosenberg.- 14. LIP-SYNCING FOR OUR LIVES: QUEERING DISSENT IN QUEER & NOW. A LIP-SYNC SPECTACULAR; Finn Lefevre.- 15. THE CASE OF DEBORAH DE ROBERTIS’S PERFORMANCE ART, NUDITY, AND INSTITUTIONAL REPRISAL; Sandra D’Urso.- 16. DEVIANTS, QUEERS, OR SCISSORING SISTERS OF MEN? TRANSLATING AND LOCATING QUEER AND TRANS FEMINISMS IN THE CONTEMPORARY ARABIC-SPEAKING WORLD; Joel W. Abdelmoez.- 17. (TRANS-)FORMING GENDER IDEOLOGIES THROUGH PERFORMANCE IN RUSSIA: CYBERFEMINIST SOMATEXTS OF THE MAAILMANLOPPU THEATRE; Tatiana Klepikova.- 18. I AM NEPANTLA: THE BODIES THAT MATTER IN CHICANA/O AND MEXICAN ART; Amarilis Pérez Vera.- 19. QUEER CROSSINGS AND TRANSFORMATIONS; Sandra Chatterjee, Cynthia Lee, and Shyamala Moorty.- 20. PERFORMING THE PLEASURE IN THE POETIC; Cassils in dialogue with Sandra D’Urso.- 21. TOWARDS A QUEER LABORATORY; Ben Spatz.- 22. HEALING CHAOS IN MOTION; Sydney Flynn Rogers/ Miss Barbie-Q.- 23. ADRIAN PIPER’S PSYCHEDELIC DRAG; Denise (Deni) Li.- 24. NARCISSISM AND HEALING IN QUEER FEMINIST CABARET IN AUSTRALIA; Sarah French in dialogue with Sarah Ward.- 25. DISCURSIVE CONTORTION AND HEALING: INHABITING YOGA BODIES QUEERLY; Camilla Damkjaer.- 26. WITNESSING RAWNESS: COMMUNITY AND HEALING; D’Lo in dialogue with Anna Renée Winget.- 27. CUIR SUDAK TRANSPOSSESSIONS AND OTHER MAGICAL MUTATIONS (or, about the practice of healing The-selves otherwise); Krizia Puig.- 28. HEALING THROUGH PERFORMANCE AND ACTIVISM (Supplemental to the chapter “Decolonizing the University with DarkMatter’s Healing of/in Failure”); Alok Vaid-Menon in dialogue with Anna Renée Winget.- 29. DECOLONIZING THE UNIVERSITY WITH DARKMATTER’S HEALING OF/IN FAILURE; Anna Renée Winget.- 30. CONCLUSION: THE FUTURE OF QUEER AND TRANS FEMINIST PERFORMANCE; Sandra D’Urso, Tiina Rosenberg, and Anna Renée Winget in dialogue with Emi Koyama and Eric A. Stanley.

About the Author :
Sandra D’Urso (she/her) is an Australia-based performance and theatre studies researcher and critic, who has published on feminist performance art and performance art under legal states of exception. She has also published work on Australian theatrical modernism and contemporary Australian poetry. Her co-authored monograph with Denise Varney, Australian Theatre, Modernism and Patrick White: Governing Culture was published in 2018. Tiina Rosenberg (she/her) is Professor of Performance Studies at Stockholm University, Sweden, and has previously been Professor of Gender Studies at Stockholm University and at Lund University, Sweden. Rosenberg has written extensively on performing arts, feminism, and queer theory. Her most recent books include Don’t Be Quiet, Start a Riot. Essays on Feminism and Performance (2016), Mästerregissören: När Ludvig Josephson tog Europa till Sverige (The Master Director: Bringing Europe to Sweden, 2017),and HBTQ Spelar Roll – Mellan Garderob Och Kanon (LGBTQ Plays a Role – Between the Canon and the Closet, 2018). Anna Renée Winget (they/them) is currently a guest lecturer at Stockholm University, Sweden, and a mental health project manager at RFSL, Sweden’s national organization for LGBTQI rights. They hold a doctorate in drama and theatre from the Universities of California at Irvine (UCI), USA, and at San Diego (UCSD), USA, where they completed their dissertation, Performing Possibilities: Trans-Healing in Activist Performance. They received their MFA in Playwriting from Boston University, USA. Their newest play, Grand Canyon Pussy, presented by Sorority Productions, was performed in Los Angeles in 2018.


Best Sellers


Product Details
  • ISBN-13: 9783030695545
  • Publisher: Springer Nature Switzerland AG
  • Publisher Imprint: Springer Nature Switzerland AG
  • Height: 235 mm
  • No of Pages: 541
  • Returnable: Y
  • ISBN-10: 3030695549
  • Publisher Date: 22 Sep 2021
  • Binding: Hardback
  • Language: English
  • Returnable: Y
  • Width: 155 mm


Similar Products

Add Photo
Add Photo

Customer Reviews

REVIEWS      0     
Click Here To Be The First to Review this Product
The Palgrave Handbook of Queer and Trans Feminisms in Contemporary Performance
Springer Nature Switzerland AG -
The Palgrave Handbook of Queer and Trans Feminisms in Contemporary Performance
Writing guidlines
We want to publish your review, so please:
  • keep your review on the product. Review's that defame author's character will be rejected.
  • Keep your review focused on the product.
  • Avoid writing about customer service. contact us instead if you have issue requiring immediate attention.
  • Refrain from mentioning competitors or the specific price you paid for the product.
  • Do not include any personally identifiable information, such as full names.

The Palgrave Handbook of Queer and Trans Feminisms in Contemporary Performance

Required fields are marked with *

Review Title*
Review
    Add Photo Add up to 6 photos
    Would you recommend this product to a friend?
    Tag this Book Read more
    Does your review contain spoilers?
    What type of reader best describes you?
    I agree to the terms & conditions
    You may receive emails regarding this submission. Any emails will include the ability to opt-out of future communications.

    CUSTOMER RATINGS AND REVIEWS AND QUESTIONS AND ANSWERS TERMS OF USE

    These Terms of Use govern your conduct associated with the Customer Ratings and Reviews and/or Questions and Answers service offered by Bookswagon (the "CRR Service").


    By submitting any content to Bookswagon, you guarantee that:
    • You are the sole author and owner of the intellectual property rights in the content;
    • All "moral rights" that you may have in such content have been voluntarily waived by you;
    • All content that you post is accurate;
    • You are at least 13 years old;
    • Use of the content you supply does not violate these Terms of Use and will not cause injury to any person or entity.
    You further agree that you may not submit any content:
    • That is known by you to be false, inaccurate or misleading;
    • That infringes any third party's copyright, patent, trademark, trade secret or other proprietary rights or rights of publicity or privacy;
    • That violates any law, statute, ordinance or regulation (including, but not limited to, those governing, consumer protection, unfair competition, anti-discrimination or false advertising);
    • That is, or may reasonably be considered to be, defamatory, libelous, hateful, racially or religiously biased or offensive, unlawfully threatening or unlawfully harassing to any individual, partnership or corporation;
    • For which you were compensated or granted any consideration by any unapproved third party;
    • That includes any information that references other websites, addresses, email addresses, contact information or phone numbers;
    • That contains any computer viruses, worms or other potentially damaging computer programs or files.
    You agree to indemnify and hold Bookswagon (and its officers, directors, agents, subsidiaries, joint ventures, employees and third-party service providers, including but not limited to Bazaarvoice, Inc.), harmless from all claims, demands, and damages (actual and consequential) of every kind and nature, known and unknown including reasonable attorneys' fees, arising out of a breach of your representations and warranties set forth above, or your violation of any law or the rights of a third party.


    For any content that you submit, you grant Bookswagon a perpetual, irrevocable, royalty-free, transferable right and license to use, copy, modify, delete in its entirety, adapt, publish, translate, create derivative works from and/or sell, transfer, and/or distribute such content and/or incorporate such content into any form, medium or technology throughout the world without compensation to you. Additionally,  Bookswagon may transfer or share any personal information that you submit with its third-party service providers, including but not limited to Bazaarvoice, Inc. in accordance with  Privacy Policy


    All content that you submit may be used at Bookswagon's sole discretion. Bookswagon reserves the right to change, condense, withhold publication, remove or delete any content on Bookswagon's website that Bookswagon deems, in its sole discretion, to violate the content guidelines or any other provision of these Terms of Use.  Bookswagon does not guarantee that you will have any recourse through Bookswagon to edit or delete any content you have submitted. Ratings and written comments are generally posted within two to four business days. However, Bookswagon reserves the right to remove or to refuse to post any submission to the extent authorized by law. You acknowledge that you, not Bookswagon, are responsible for the contents of your submission. None of the content that you submit shall be subject to any obligation of confidence on the part of Bookswagon, its agents, subsidiaries, affiliates, partners or third party service providers (including but not limited to Bazaarvoice, Inc.)and their respective directors, officers and employees.

    Accept

    Fresh on the Shelf


    Inspired by your browsing history


    Your review has been submitted!

    You've already reviewed this product!