Download e-book for iPad: A queer sort of materialism : recontextualizing American by David Savran

By David Savran

In attractive, obtainable prose, best theater critic and cultural commentator David Savran explores the intersections among paintings and tradition, providing clever, compelling interpretations of the industrial 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 variety in material from Rodgers and Hammerstein to Paula Vogel, from without notice final summer time to Iron John, Savran uncovers the ways in which such troublemakers either problem and toughen orthodox social practices.
The choices offered listed here are via turns interesting, informative, refined, and polemical, reflecting the author's twin citizenship as rigorous student and fascinating theater critic. This publication additionally presents a version for one of those queer historic materialism that would end up precious to quite a lot of disciplines, together with theater and function, gender and sexuality, queer/gay/lesbian/transgender stories, American experiences, and well known culture.
David Savran is Professor of Theater, the Graduate middle, town college of latest York, and writer of Cowboys, Communists, and Queers and Taking It Like a Man.

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Yet they are also understood to be the distinctive signature of the mative (racial or sexual) minoritized identity. Whether in its uptown or downtown guises, then, the new queer the­ ater has become a metonym for postnaturalistic performance in the United States. It thereby represents in a particularly dear and incisive form both the situation of theater as a bastard art (which is to say, as a product of the unnatural intercourse of high and low) and the necessary slippage (both on- and offstage) between self and Other.

It is, in other words, a universalizing judgment of value and taste that is predi­ cated less on an analysis of the functioning of each medium than on an evaluation of certain discrete bodies of canonical texts. Indeed, the very notion that any of these arts has a distinctive and unchanging essence is undermined both by the extensive, heterogeneous, worldwide histories of each, as well as by the many aesthetic revolutions waged during the last century in the name of modernism (and whatever has allegedly suc­ ceeded modernism).

But with "the decline of intelligent, provocative criticism at newspapers around the country," the Times remains by far the most im­ portant arbiter of taste in the American theater, delivering a thumbs-up or thumbs-down judgment that will ensure that a play will or, more likely, will not be seen on other stages. 146 Moreover, despite the recent and relative decentralization of the non­ profit theater, its commercial cousin remains the most centralized and re­ view-dependent of the culture industries.

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