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Lesbian and Gay Drama
Abstract
Performance plays an integral part in creating and sustaining queer public cultures, serving as a method of artistic inquiry, a mode of sexual expression, and a means of social protest. Sexual minorities have a rich legacy of entertaining audiences (straight and gay) in bars, cabarets, bathhouses, and "legitimate" theatres, but historically they have been most skilled in the art of crafting personas that enable them to survive the drama of compulsory heteronormativity. "All of us who are queer can loosely be described as solo performers," note David Román and Holly Hughes, "insofar as we have had to fashion identity around our gender and sexuality, drag being only one manifestation of this process" (6-7). Homosexuals learn to pass as straight to avoid insult, injury, and prosecution, often before they are old enough to be conscious of what they are doing or why. Unable to express deviant desires publicly, many lesbians and gays seek solace in the arts. The theatre has long been a haven for queers. It is a site of yearning and fantasy, a liminal world where almost anything is possible. Unconventional liaisons, aberrant behaviors, masquerade, and powerful emotions are the cornerstones of dramaturgy. Desire, including same-sex eroticism, motivates characters and audiences alike. Trafficking in magic and metamorphosis, glitter and glamour, which is to say in the possibility of transformation, the theatre provides both a respite and a resource for society’s maligned and marginalized.
Η ανακοίνωση εστιάζει στις παραμέτρους που συνέβαλαν στην πρόσληψη του Ευριπίδη στην Ελλάδα κατά τον 19ο αιώνα, με σκοπό να χαρτογραφηθεί η διαδικασία πρόσληψης του τραγικού ποιητή ως μέρους της γενικότερης προσληπτικής διαδικασίας του αρχαίου δράματος κατά το χρονικό διάστημα αναφοράς, και πώς αυτή η διαδικασία λειτούργησε για την επικράτηση των απόψεων για την ποιητική αξία του Ευριπίδη. Η δεξίωση του Ευριπίδη μέσα από τις μεταφράσεις, τις εκδόσεις, τις θεατρικές παραστάσεις, τα κείμενα και τα δημοσιεύματα σε περιοδικά και στον Τύπο, αλλά και ως αντικειμένου διδασκαλίας στην εκπαίδευση, πραγματοποιήθηκε βαθμηδόν από τις πρώτες δεκαετίες του δέκατου ένατου αιώνα. Μέσα από την περιδιάβαση στην προσληπτική διαδικασία του ηγέτη της ρομαντικής σχολής Ευριπίδη, παρακολουθούμε τη σκιαγράφηση του πορτρέτου του ποιητή με χαρακτηριστικά που τον ακολουθούν ως σήμερα. Ανιχνεύεται η διαχρονικότητα της προσληπτικής υπερ-αξίας μέσω της διακειμενικότητας, καθώς οι απόψεις για τον Ευριπίδη που εμφανίστηκαν στην ελληνική βιβλιογραφία του 19ου αιώνα φαίνεται πως έχουν φθάσει έως τον 21ο, κάποιες παραμένοντας ακλόνητα ισχυρές ενώ άλλες έχοντας διασκεδαστεί μέσα από κείμενα του 20ού, διατηρώντας ωστόσο την αρχική τους επίδραση ως προς τη φήμη του αρχαίου τραγικού.
This e-book aims at contributing to an in depth study concerning the reception of the Ancient
Greek Drama Values across Space and Time, in the light of a fertile debate between Science
and Art.
There are seven units in this Volume, containing the following: 1. Values in/and Ancient 2.
Theory/Adaptation 3. Ancient Texts 4. Comparative Readings 5. Ancient Theatre's & Drama's
Educational Value 6. Directors' & Stage Re-readings 7.The Festivals, Moderator.
With their well-grounded works, all the distinguished writers that participate in this volume,
confirm the active and functional presence of the ancient drama as a vehicle of values
internationally, timelessly and contemporaneously in the best possible way. They approach it
as a field of vision, inspiration and experimentation, exploration, diversion, freedom and
transformation. They highlight the importance included in its values and concepts, which not
only survive and eliminate the limits of time and space, but also support, reinforce and serve
the global culture in various ways. It appears through the articles of this volume, that the ancient
drama may be re-created because of its timeless, updated handling, thus setting new rules for
its interpretation and reception, re-defining the idea of “tragic”, shaping the concept of
“classic”, constituting its complex dynamics and eventually influencing all the fields of life and
creation. In our contemporary times of the multilevel deep global crisis that has affected all
aspects of social and private life, the present material proves that the ancient drama, with all its
many different aspects and anthropocentric core, is a challenging, inexhaustible field of
research. The scientific, educational and artistic community, realizes and justifies its
contribution to the formation of a “cosmopolis” of the Present and the Future, orientated
towards values that have ceased to be taken for granted, able to place modern humans in the
center of its planning and perspective.
"Verbatim drama," the current trend in British documentary theatre, capitalizes on the
presumed authenticity of the voices represented and on the "unmediated" theatricalization of the truths they ostensibly reveal. The works of Moisés Kaufman and his Tectonic Theater
Project present an alternative, appropriating avantgarde theatre techniques and acknowledging
the presence of the artist in shaping the representation of the realities depicted.
- Dolan
- De Jongh
Homosexual Drama and Its Disguises
- Stanley Kauffmann
- Kron