Read more
Theatre of the Ridiculous is a significant movement that highlighted the radical possibilities inherent in camp. Much of contemporary theatre owes this form a great debt but little has been written about its history or aesthetic markers. This book offers a comprehensive overview of the important practitioners, along with critical commentary of their work.
Beginning with Ridiculous' most recognizable name, Charles Ludlam, the author traces the development of this campy, queer genre, from the B movies of Maria Montez to the Pop Art scene of Andy Warhol to the founding of the Play-House of the Ridiculous and the dawn of Ludlam's career and finally to the contemporary theatre scene.
List of contents
Table of ContentsAcknowledgments
Preface: Uncovering a Ridiculous Past
One.¿"A Ridiculous Triple Threat": Charles Ludlam and the Making of a Ridiculous Aesthetic
Two.¿The "Godmother" of the Ridiculous: Maria Montez and the Ghosting of Ridiculous Theatre
Three.¿The "Daddy" of the Ridiculous: Jack Smith, Pop Art and Proto-Ridiculous Performance
Four.¿"Ridiculous Remix": Playing at Power at the Play-House of the Ridiculous
Five.¿"Ridiculous Mashup": Ethyl Eichelberger and the Performance of Gender
Six.¿The Ridiculous Aesthetic Across Generations: The Descendants of the Ridiculous
Seven.¿The Ridiculous Aesthetic Across Generations: The Inheritors of the Ridiculous
Conclusion: Radical Ridiculous Theatre?
Chapter Notes
Bibliography
Index
About the author
Kelly I. Aliano is the manager of Education Special Projects at the New-York Historical Society. In addition to video game studies, she also works in the fields of queer performance and higher education pedagogy. She has taught at LaGuardia Community College, CUNY, and lives in Baldwin, New York.
