Gay-themed Broadway mils have e a long way the past fifty years. The on are the bt.
Contents:
- THE 10 BT GAY MILS OF ALL TIME
- STAGE GAY
- HOW A GROUP OF GAY MALE BALLET DANCERS IS RETHKG MASCULY
- GAY USA
- A BRIEF HISTORY OF GAY THEATER, THREE ACTS
THE 10 BT GAY MILS OF ALL TIME
* gay stage *
Through an examatn of stage-gay, the notor practice of queer performativy on stage by straight performers the emo mic subculture, I vtigate how a rtrictive notn of “tth” discsns of queerbag n actually close off the very possibili of transformatn and open-end nfiguratns of sexualy that Alexanr Doty’s formulatn of queerns promised. When nsirg emo bands’ tentns performg stage-gay, we should look to explic statements ma by band members about s purpose: not to take them as transparent statements of fact, but as performative elements the Butlerian/Fouuldian sense, which be wh other visual and dible statements to nstct a disurse of queerns. We should also take to acunt the soc-cultural ntexts which stage-gay first me to public note: two boys kissg onstage at a hard rock ftival 2002 is an entirely different statement than the same gture ma a queer-iendly club 2020.
STAGE GAY
How Gay and LGBTQ Plays have changed over the s. * gay stage *
Readg 2006), to shouts of “faggots”: those of who were old enough to attend hardre and rock shows the early-mid 2000s will rell when there was nothg particularly remarkable about this vilent subcultural homophobia. ”17 The thor has wrten before that gay jok are a hallmark of queerbag, and this is te, but typilly the humor operat the other way around: iends are mistaken for a uple, and humor is generated by their awkward rponse (see pecially the BBC’s Sherlock and the CW’s Supernatural).
HOW A GROUP OF GAY MALE BALLET DANCERS IS RETHKG MASCULY
Havg attend the ncerts of all three bands over a perd of nearly fifteen years, I thk is safe to say that recent years, the stage-gay has been toned down, possibly bee is rather ls strikg a statement mid-sized arenas 2020 than hardre and alternative rock clubs 2004.
And ed, there were good-fah personal risks volved stage-gay: wearg a homema T-shirt readg “homophobia is gay” to a hardre club show the early 2000s, as MCR’s rhythm guarist Frank Iero once did, urted a real risk of retributn both sal and physil vlence.
GAY USA
This kd of ratifitn of fan practice om the subjects volved—as opposed to Way’s prev assertn that stage-gay was not tend to be ed “for” fanfic—do not make stage-gay any more or ls real, but grants a kd of license or thorizatn to queer fan practice, rultg a eer space of play. ” The feature si clarifi that while he isn’t actually gay, he fds the ephet people have ed as an sult agast him for most of his life to be ftg enough: “There is a sense of self-empowerment or repturg who you are by people llg you ‘fag’, and beg like, ‘Yeah, I am a fag. ”45 I suppose one sense, this uld be taken as an extreme act of queerbag by the edors of the magaze themselv, choosg that pull-quote as a tle page to prompt magaze sal: but aga, that requir rcg queerns to an intarian rigidy that, as Nord wr, may actually strengthen the heteronormative amework: as though all feme men mt be gay, all mascule girls mt be trans, and everyone needs to abi by the New Rul of Genr.
A BRIEF HISTORY OF GAY THEATER, THREE ACTS
After all, if we n neatly ci what kds of queer activy unt as gay, and which don’t—somethg Ward’s stunts seem entirely nvced of their judgements — is much easier to mata the boundari of normal and abnormal and assign dividuals to those box. As Ward puts , To the extent that sexual ntact between straight whe men is ever acknowledged, the cultural narrativ that circulate around the practic typilly suggt that they are not gay their intarian nsequenc, but are stead about buildg heterosexual men, strengtheng hetero-mascule bonds, and strengtheng the bonds of whe manhood particular…In particular, I am gog to argue that when straight whe men approach homosexual sex the ‘right’ way—when they make a show of endurg , imposg , and repudiatg —dog so functns to bolster not only their heterosexualy, but also their masculy and whens.
Men have sex wh men acrdg to all sorts of “hetero-mascule scripts, ” such as adventure, male bondg, hazg, huiatn, and natnal secury that “functn to displace or mask homosexual attachments—even the ntext of homosexual sex. More promently than the queerns of terracial homoeroticism, we should nsir the fact that stage-gay the early 2000s effectively functned to dispt Ward's heteromascule scripts—the heteromascule script of the hardre ftival, a privileged se of heteronormative male bondg, was ostentatly queered by a bunch of “fags” wh electric guars takg pri of place on the stage.