New PDF release: A queer sort of materialism : recontextualizing American

By David Savran

ISBN-10: 0472068369

ISBN-13: 9780472068364

ISBN-10: 0472098365

ISBN-13: 9780472098361

In attractive, obtainable prose, top theater critic and cultural commentator David Savran explores the intersections among artwork 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 kind of Materialism takes on "the trouble-makers--the ghost, closeted gay, masochist, drag king, 3rd global laborer, even the white male as victim"--who determine extra prominently in theater than in different cultural types. In impeccably researched and argued essays that variety in subject material from Rodgers and Hammerstein to Paula Vogel, from by surprise final summer time to Iron John, Savran uncovers the ways in which such troublemakers either problem and toughen orthodox social practices.
The decisions offered listed below are through turns enjoyable, informative, refined, and polemical, reflecting the author's twin citizenship as rigorous pupil and interesting theater critic. This publication additionally presents a version for a type of queer old materialism that may turn out worthy to a variety of disciplines, together with theater and function, gender and sexuality, queer/gay/lesbian/transgender reports, American experiences, and well known culture.
David Savran is Professor of Theater, the Graduate heart, town college of latest York, and writer of Cowboys, Communists, and Queers and Taking It Like a Man.

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In an almost embarrassingly revelatory conversation that appeared in the Times in 1999, the three lead theater critics, Ben 52 A Queer Sort ofMaterialism Middlebrow Anxiety Brantley, Vincent Canby, and Peter Marks, agree that English theater is 53 without a trace of irony, ask the following question about the imminent "visceral" and maintains a "vitality'' that comes from its "connection ... " up privileging precisely the kind of well-crafted, Pulitzer Prize-winning, While English audiences are stimulated by "politics and ideas;' Ameri­ upper-middlebrow theater that was a staple of Broadway during what cans "want the theater to be a geisha:' a high-class and exotic woman-for­ both Atkinson and Brantley describe as its golden age.

A "serious" theater is teeming with un­ mediated presence and with plays that "actually speak to their audi­ ences;' quite unlike the "narcotic" effect of the Broadway megamusical. And Brantley is hardly alone in yearning for a more "daring" theater. 145 As the chief theater critic for the Times, Brantley bears a heavy re­ sponsibility. For like the middle manager he is, he must juggle many dif­ ferent constituencies, including a wide range of theater professionals (like producers, who do so much of their advertising in the Times), his editors, and his readership, both in New York and nationally.

Rather than affirming a preexistent, full subject, queer playwriting always seems ( as it did in the closet dramas of fifty years ago) to erase the self, produc­ ing the writer as a supplement to a polyvalent and incomplete text. " For her, writing remains a unique and enigmatic enterprise-unique because all finger­ prints are different and enigmatic because "you have no idea what they look like :' And fingerprints, although quite literally at one's fingertips, are taken for granted, a mass of indeterminate swirls to the untrained eye.

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A queer sort of materialism : recontextualizing American theater by David Savran

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