Queer-Theatre

What are the salient features of fabulousness? Irony. Tragic history. Defiance. Gender fuck. Glitter. Drama. It is not butch. It is not hot. The cathexis surrounding Fabulousness is not necessarily erotic. The Fabulousness is not delimited by age or beauty. Style has a didactical relationship to physical beauty. The body is real. Style is theatre. The raw materials are reworked into the illusion. For style to be truly fabulous, one must completely triumph over tragedy, age, physical insufficiencies -  and just as importantly, one’s audiences must be made aware of the degree of transcendence, of triumph; must see both the triumph and that over which the triumph has been made. (In this, the magic of the Fabulous is precisely the magic of the theater. The wires show. The illusion is always incomplete, inadequate; the work behind the magic is meant to be appreciated.)
—  Tony Kushner, “Notes Toward a Theater of the Fabulous” from John M. Clum’s Staging Gay Lives.

I didn’t know Javi Muñoz was gay until I saw the clip from August 14th of him fighting back against homophobes and honestly right now I have tears in my eyes right now because a gay Latino man is playing the biggest role on Broadway right now and he’s doing such an incredible job and as a young queer Latinx kid I’m crying because I have such an amazing role model to look up to

And this is so significant bc yes you hear about gay people in Broadway and in theatre (E. G. Groffsauce) but you NEVER hear about queer POCs, ESPECIALLY not queer Latinxes and definitely not queer Latinx individuals IN LEADING ROLES, and I’m so happy and so proud that I and future queer Latinx theatre kids have Javi to look up to and I just

I hope he knows that his existence and his playing this fantastic role in such an influential musical, which has become such a big part of my life, is an inspiration to me and to us all. Seeing myself represented in a community I love and respect is something I never could have imagined a year ago.

Thank you so much, Javi.

Still desperate for TRANS/NON-BINARY STORIES

Hi everyone. As some of you may know, I am a theatre student and for my senior thesis I have to put together a play. My play is going to be all about trans/non-binary identities. A platform on which we will have at least 20 minutes of visibility in this world of misrepresentation. Hopefully this won’t just be a final project, but something I continuously build on and present at venues, or maybe I can even get it published as my very own real play. The working title is “Don’t Assume My Gender”. 

I need your real stories. Your stories/monologues are my script. Literally word for word, you are helping me write my play. I thought what better way to present trans/non-binary identities than to get the real stories from real human beings. The stories can consist of what happens to you on a daily basis as a trans/non-binary person, how you came out, why you can’t come out, relationship problems/successes, sex stories, family, friends, funny things, sad things, powerful moments, being misgendered, being the underdog, being you. I need these real stories because I am all about presenting the truth. Please help me portray our truth.

No identity in this play will be portrayed by a cisgendered actor. All stories will be anonymous unless you would like to be credited. 

I am incredibly desperate for stories from AMAB human beings. I am very grateful for the stories I have received so far, and while it’s great they are all from AFAB human beings, this play is about trans/non-binary identities and it cannot be featuring stories only from AFAB people. I really want this play to be full of trans/non-binary diversity. 

PLEASE SEND ME YOUR STORIES!! Either in messenger, or ask me to send you an ask so that you may have unlimited room to type, or send a submission. If you do not wish to submit a story, please reblog this so that more people see it. Especially if you have a lot of AMAB friends/followers!!! Please, please, please!! Love you all, have a good day!

When discussing gay theater, I am always reminded of Blanche DuBois’ proclamation: “I don’t want realism, I want magic!!” It is a sense of theater as a magical space mirroring life but large than life and the sense that theatre best mirrors the performance of gender and the awareness of performativity that have historically been part of the gay experience. These plays all take their audiences and readers to surprising places. There is no way in which we could refer to these plays as “straight” plays. Gay playwrights, even in their most serious moments, remind their audiences of the many readings of the word play, What does theatre mean if it is not joyous, camp, liberating, and magical? It is not somber, literal, or naturalistic.
—  John M. Clum, Staging Gay Lives.
Love is - something I know. I don’t know how we got here, I don’t know why touching you makes me so happy, but I know - that seeing you, or even thinking about seeing you, makes me feel like - I don’t need to know anything else.
—  The Most Fabulous Story Ever Told
If you’re LGBTQ+ and involved in theatre, I need your help!

So, I’m writing an essay on LGBTQ+ people in theatre, and if any of you would be willing to be “interviewed” (by which I mean answering some very open-ended questions about your experiences and opinions and all that), it would mean the world! 

If this doesn’t apply to you, but you know someone you think would be interested, then please pass it on! 

Thank you!

No, but guys.  Fun Home took Best Musical.  Hedwig took Best Revival last year.  Two years in a row, two shamelessly, explicitly queer stories - BOTH WHICH ARE ABOUT ACCEPTING YOURSELF AS YOU ARE EVEN IF YOU FUCK UP ALONG THE WAY - have taken top prize in their category, with their lead actors from both winning Best Actor for their performances.

THIS IS SO IMPORTANT.  

[Fiona] Shaw’s performance as Richard played with both masculinity and femininity to create a multilayered impression of the character; yet she posed a particular challenge to the construction of maleness. When women perform masculinity, they reveal it to be artificial rather than immanent, which violates the dominant conception of masculinity in Western culture as not a construction, but rather “the thing itself." This nonperformative characterization of masculinity makes it difficult for women to embody. Those, like Shaw, who do embody it through cross-gender performance violate a cultural taboo: they show that masculinity is not the exclusive property of biologically male bodies. By highlighting the instability of masculinity, Shaw problematized the cultural myth that sex, defined as the biological differences between males and females, dictates gender, which refers to the cultural meanings that are assigned to sexed bodies. Her performance also revealed the subversive potential
of the "female androgyne” (to appropriate George Piggford’s term) to unsettle the gender binary. Her androgynous Richard disrupted both masculinity and femininity through her continually shifting portrayal.
—  (p. 179) “Many Bodies, Many Voices: Performing Androgyny in Fiona Shaw and Deborah Warner’s ‘Richard II’” by Elizabeth Klett

Okay, but hear me out: a production of Legally Blonde: The Musical where nothing is different except Emmett is Emma

Young girl watches her mom get abused by a string of violent men and vows to go to law school to buy her mom a house with the money she wins from prosecuting domestic abusers

She graduates and gets a job at a firm where the senior partner sexually harasses his female employees–she is either ignored by him (as a perhaps masc-presenting lesbian) or gets harassed by him and grits her teeth because she just wants that house for her mom SO MUCH

And then there’s another young woman. She’s in love with an asshole of a guy, but Emma shows her what potential she could have if she just focused on herself. In return, the girl shows her how to stand up to her boss (and how to dress)

In the end Elle proposes to Emma and all her sorority sisters are SO EXCITED for their president’s wedding where she will marry a woman

Queer-inclusive sorority

Bisexual Elle Woods

LESBIAN EMMA RICHMOND

‘Dear Mr. Charles, Do you enjoy gay theater?’ I am gay theater. All right, I will now give you the entire history of American gay theater, in sixty seconds. Go!
      (MR. CHARLES stands, and there is a dramatic lighting change, as he free-associates rapidly.)
'Jimmy isn’t like the other boys-do you know what you are-he’s no son of mine! I’m just so lonely and sick of my own evil.-he was a boy, just a boy-Bill was my buddy, and our love was pure and strong, but those things they’re saying- they’re true, about me! I’m so sick and ashamed, Karen! Do you know what you are? I am a thirty-two-year-old, pockmarked Jew fairy, and that was when my father saw me backstage, in my wig and my tights, and he said, take care of my son.             (Singing)
I am what I am!
       (in a gravelly voice, as Harvey Fierstein)
I just wanna be loved, Is that so wrong? But Doctor, what’s wrong with David, with all the Davids? Our people are dying, and the Mayor still won’t say the name of the disease- Maria Callas!
        (He raises his arms as graceful as wings)
Let the great work begin!
        (He raises his arms again)
Let the great work begin, part two! When you speak of gay theater, and you will-be kind. Because it’s all about love, valour, and gratuitous frontal male nudity!
— 

Mr. Charles, Currently of Palm Beach by Paul Rudnick

(How many shows can you identify in this?)

anonymous asked:

Leave it to the whites to appropriate a part of queer culture poc developed as a safe space for themselves 😂

LONG POST
***responding to this and anon’s previous ask (paraphrasing) “white afab people like lady Gaga don’t belong in drag. It is for queer amab poc folk”

I recognize that I have a lot of privilege here, being a white queer afab individual. I don’t want to assume anything so here’s my research.
Drag culture has been around universally for a very long time. The drag you may be referring to is a subculture of a culture that has been around for CENTURIES already. Historically, drag was first and foremost used in THEATRE. In the 1500s women were not allowed to be in plays so men played female characters for Shakespeare. In As You Like it, Rosalind is a female character who disguises herself as a man because she runs away to the forest where she may be met with situations that would be dangerous for a woman. Keep in mind that a man would play this role, so you have a man in drag playing a woman in drag. In the 17th century, Japanese kabuki often had male actors playing female roles. Hell, drag dates as far back as the Ancient Greek. It is thought that the term “drag” came from the Victorian era where men in theatre wore long skirts that literally “dragged” on the floor. I realize that the above mentioned people are all amab, but I would ask you to look up films from the 1920s. Clearly not the best time for queer people and POC, but I can guarantee that you’ll find white women in drag for various reasons, mainly inspired by drag in theatre. The drag we know now may have derived in the 1960s with stonewall (I may be off, I’m ball parking). I realize that many queer POC have been overlooked and erased in this part of history, but believe me when I say I recognize that they were there and that they set a new standard for drag. Keep in mind that they played a part in creating a subculture of drag. White queer afab individuals have found their own place in drag, as have queer (and cishet) afab people of all races, and I believe that their place is no more valid than amab queer POC’s place in drag. I think it’s important to remember that drag is a way of expressing one’s gender, and that we all have the freedom of gender expression. Drag is a performance style, a hobby, a career, and a way of life. I hope that my research and personal opinions have cohesively supported the idea that drag is universally free to anyone who wants to do it.

(I recognize that I am my own person with my own experience of what drag is. I realize that other people have their own experiences of what drag is and that their truth may be different from mine. I in no way wish to state that my opinions are superior to others. I only wish to voice my experience and ideas to create a constructive dialogue between myself and people who disagree with me. I respect anyone’s differing opinions and invite anyone to be involved in productive discussions with me if they so please)

fervid as a flamesongs from musicals that are about girls who like girls, sung by girls who like girls, or can be interpreted in a girl loving girl way

tracklist: i. take me or leave me - rent || ii. i like girls - volleygirls || iii. what is this feeling? - wicked || iv. you’re my world - shout! the mod musical || v. legally blonde remix - legally blonde: the musical || vi. old fashioned love story - the wild party || vii. the way you move - volleygirls || viii. for good - wicked || ix. ring of keys - fun home || x. one hundred easy ways - wonderful town || xi. something bad is happening - falsettoland || xii. bosom buddies - mame || xiii. forget about the boy - thoroughly modern millie || xiv. what you don’t know about women - city of angels || xv. who will love me as i am? - side show || xvi. changing my major - fun home || xvii. what about love? - the color purple