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Informationen zum Autor Dr Mark Edward is a pracademic and Reader in Creative Arts at Edge Hill University, UK. His publications include Mesearch and the Performing Body (2018) besides book chapters for Oxford University Press, Springer, Sage, and Supernova Books. Professionally he has worked for Rambert Dance Company and performed with the renowned American performance artist Penny Arcade in her seminal work 'Bad Reputation' (2004) and in Jeremy Goldstein’s ‘Truth to Power Café’ (2018). Mark is also the writer and producer of the immersive performance and film installation ‘Council House Movie Star’ (2012) featuring his drag persona Gale Force. Dr Stephen Farrier is Reader in Theatre and Performance, at The Royal Central School of Speech and Drama, University of London, UK. With Alyson Campbell has has co-edited Queer Dramaturgies: International Perspectives on Where Performance Leads Queer (2015) as well as a themed edition of RIDE, The Journal of Applied Theatre and Performance named the ‘Gender and Sexuality Issue’. Zusammenfassung In recent years drag performance has moved from the fringes to emerge as a mainstream phenomenon, showcased on TV shows in the US and the UK.This collection offers a diverse range of critical engagements by drag performers, makers, scholars and writers reflecting on work from the UK, USA, Israel, Germany and Australia. Moving beyond discussions of gender theory, the essays consider contemporary drag performance practices, connecting them to the histories, communities and politics that produced them. Chapters range across discussions of drag kings in the US, UK and drag and activism; the influence of RuPaul on the generation of new forms of work in New York; transfeminist critiques of drag; ‘bio’/faux queens;engagements with race and ethnicity through drag performance; drag andragogy; audience concerns; drag intersections with animal personas, and how drag performance relates to personal narratives of history and identity. Collectively the contributions focus on drag as a mode of performance that is diverse and that uncorsets the easy thought that drag is simply a cross dressing man in a dress or a woman in a suit. Inhaltsverzeichnis List of illustrationsAcknowledgementsNotes on ContributorsForward by Mark RavenhillIntroduction by Mark Edward and Stephen FarrierChapter 1: Applying Foundation and Setting The Scene by Mark Edward and Stephen FarrierChapter 2: ‘Dragging the Mainstream: RuPaul’s Drag Race and Moving Drag Practices Between the USA and the UK’ by Joe ParslowChapter 3: ‘RACE FOR THE MONEY: The Influence of RuPaul's Drag Race on the Livelihood and Aesthetics of New York City's Drag Culture’ by Kalle Westerling Chapter 4: ‘Hen.faChinoiserie Drag: Masquerading as the Oriental Other’ by Rosa FongChapter 5: ‘It’s Always Better Performing with the Troupe’: Space, Place, and Collective Activism’ by Jae Basiliere Chapter 6: ‘Of Hills and Wheels: Tilda Death in the IDF Disabled Veterans’ Club’ by Raz WeinerChapter 7: ‘A Transfeminist Critique of Drag Discourses and Performance Styles in Three National Contexts (US, France and UK): from RuPaul’s Drag Race to Bar Wotever’ by Kayte Stokoe Chapter 8: ‘Not a cock in a frock but a Hole story. Holestar and the mark of the bio-queens’ by Stephen FarrierChapter 9: ‘Destabilisation through Celebration: Drag, Homage, and Challenges to Black Stereotypes in the Practice of Harold Offeh’ by Kieran Sellars Chapter 10: ‘Gender Euphoria: Trans and Non-Binary Identities in Drag’ by Olympia BukkakisChapter 11: ‘The Tranimal: Throwing Gender out of Drag?’ by Nick CherrymanChapter 12: ‘Drag Kings and Queens of Higher Education’ by Mark EdwardChapter 13: ‘Drag publique: the spectacle of queerness, queer placelessness and the emaciated spectator’ by Allan TaylorChapter 14: ‘"Blessed is the fruit" Drag Performance, Birthing, and Religious Identity’ by Chris Greenou...
