Queer Performance

PMA 3755 :: FGSS 3250 :: LGBT 3250 :: VISST 3260
PMA 6755 :: FGSS 6755 :: LGBT 6755 

Cornell University
Fall 2016
T/Th 11:40 a.m. – 12:55 p.m
Schwartz Center 124

Prof: Sara Warner

home :: library resources :: local performances :: email prof

https://courses.cit.cornell.edu/pma3755

Making Contact:
Office Hours: Thursdays 4:30-5:30 pm and by appointment
Email: slw42@cornell.edu
Phone: 254-2727

Course Description ::

What constitutes queer performance?  Is queer who you are or what you do?  Is sexuality all we mean by queer?  What are the historical, aesthetic, and political aspects of queer performance?  Integral to our theoretical discussions will be questions of practice and production:  Where is queer performance staged and how is it received?  How is it produced, for whom, by whom, and with what funds? Is queer inherently or even necessarily radical?  

Course Objectives ::

• To foster an understanding and appreciation of the rich diversity of forms, styles, practices, and practitioners that might be called “queer.”
• To provide opportunities to explore the relationships among taxonomies, identities, identifications, and proclivities that indicate sex, gender, and sexuality.
• To motivate students to examine the broad socio-economic, political, religious, and cultural contexts in which queer performance takes place.
• To encourage the class to understand queer performance as a significant part of theater history.
• To facilitate an environment in which students contemplate what it means to be a spectator of performance through a queer perspective, regardless of one’s identity, sexual orientation, or political affiliation.

Learning Outcomes ::

• To demonstrate familiarity with a range of queer performance events, dramatic texts, and theatrical productions.
• To recognize and appraise the aesthetic, affective, and political dimensions of queer performance events and productions.
• To identify, analyze, and compare major issues, methodologies, and paradigms of queer performance and queer theory.
• To evaluate and apply a variety of critical and theoretical approaches to the study of queer performance.
• To plot and execute a mode of political performance known as a zap action.

Academic Integrity ::

Each student is expected to abide by the Cornell University Code of Academic Integrity.  Any work submitted by a student in this course for academic credit will be the student's own work. All outside assistance should be acknowledged, and the student's academic position truthfully reported at all times.  Please refer to the Code of Academic Integrity and Acknowledging the Work of Others in the Policy Notebook for the Cornell Community, or online at: http://cuinfo.cornell.edu/aic.cfm

Accommodations ::

I respect and uphold University policies and regulations pertaining to the observation of religious holidays; assistance available to physically, visually and hearing impaired students; plagiarism; sexual harassment; and racial and ethnic discrimination. All students are advised to become familiar with these University regulations and are encouraged to bring any questions or concerns to my attention. In keeping with University policies, I am available to discuss appropriate academic accommodations that may be required for students with disabilities or special needs. Please see me during the first three weeks of the semester to discuss arrangements. In order for me to assist you, you must register with Student Disabilities Services: http://sds.cornell.edu/.

Assessments ::

This class requires professional standards of communication in all areas. All written assignments are to be typed in 12 point font, double spaced, and formatted according to the latest edition of the MLA handbook (when appropriate).  All due dates are clearly noted on the syllabus, and I do not grant extensions, so please do not ask to turn in an assignment late because you have an exam in another class or are participating in a production. Only in the event of an emergency will I make exceptions to this rule.  You may, at any time, turn-in assignments early.

You are welcome to bring your laptops to class, but use is restricted to course content. Do not text, FB, tweet, email, websurf, etc. during class on your computer, phone, tablet, or pda.

Course Requirements :: Undergraduates ::

• 10% Attendance & Participation
• 10% Embodied Critical Act
• 20% Live Performance Review
• 20% Zap Action
• 20% Preliminary Exam
  
• 20% Final Exam

Attendance & Participation (10%) ::

This course will be based on lecture and in-class discussion of the material we read and view.  Due to the broad amount of cultural and historical material covered in this survey, it is essential that you arrive on time to class every day prepared to discuss the assigned material. I will take attendance daily. You are allowed to miss two classes without penalty. Each unexcused absence after this will result in your grade being lowered by 10%. Two tardy arrivals amount to one unexcused absence. If you are absent, you are responsible for finding out what went on in class and for coming to the next meeting fully prepared. I do not accept late work, and I do not give incompletes unless there are extenuating circumstances. Please make every effort to stay on top of the syllabus and contact me immediately if you are falling behind or having difficulty with the course material.

Embodied Critical Act (10%; date varies) ::

You will select a date to offer an embodied critical act, a dynamic presentations that brings to life some aspect of that day's reading. Embodied critical acts should be brief and concise (under no circumstances should the presentation portion exceed 10 minutes). In addition, you will provide a one-page handout outlining the artistic and historical context for the author and work, summarize the main elements of the work(s), and highlight links to other texts we have studied in the class.  Conclude your presentation with two questions to spark class discussion. You may take up to an additional 10 minutes to go through your handout and discussion questions with the class (for a grand total of 20 minutes). The goal of this exercise is not to exhaust a text, but to bring to life a few key aspects.  You must email me your outline and questions at least 2 days prior to your presentation; failure to do so will result in your grade being lowered by one letter (e.g., an A on your presentation becomes a B). ECAs may be done solo or in pairs. You may find the CU Library Theater Resource Guide a helpful place to start your research.

Live Performance Review (20% due Nov 10) ::  

You are required to attend and review Paula Vogel's The Baltimore Waltz. The review will consist of 3-5 double-spaced pages in which you analyze and evaluate key features of the production.  You will receive handouts with guidelines on how to research and write reviews.  Evaluations of student work, including this production of The Baltimore Waltz, should be written in the spirit of what Jill Dolan terms "critical generosity." You cannot review a production in which you participate.  You must view it as an audience member.  You’ll find a list of Ithaca-area performances here. Choose an explicitly queer performance or apply a queer lens to the production you do see. 

Zap Action (20%; due Dec 1) ::

You will create and stage a zap action (complete with manifesto, marketing materials, costumes, and props). You are encouraged to create zaps in groups, and you must consult with me on your topic and tactics one month in advance of your action.

Prelimary Exam I & II (40 total % due Oct 6 & Nov 22) ::

Preliminary exams consist of in-class tests featuring multiple choice, fill-in the blank, and short answers questions.  The prelims are not cumulative, and there is no final exam for the course.  If you miss an exam, you must present a note from your academic advisor or dean validating your absence in order to schedule a make-up.  

Course Requirements :: Graduate Students ::

Live Performance Review (20% due Nov 10) ::  

You are required to attend and review Paula Vogel's The Baltimore Waltz. The review will consist of 3-5 double-spaced pages in which you analyze and evaluate key features of the production.  You will receive handouts with guidelines on how to research and write reviews.  Evaluations of student work, including this production of The Baltimore Waltz, should be written in the spirit of what Jill Dolan terms "critical generosity." You cannot review a production in which you participate.  You must view it as an audience member.  You’ll find a list of Ithaca-area performances here. Choose an explicitly queer performance or apply a queer lens to the production you do see. 

Queer Pedagogy (20%; date varies) ::

You will be professor for the day.  Plan a course and lead the class in a discussion of the readings.  This can involve a lecture component, but lecture should not constitute the bulk of the lesson plan, which might involve a/v material, an embodied exercise of some sort, and/or discussion prompts.  You must consult with me and provide a detailed outline at least one week prior to your presentation.

Zap Action (20%; due Dec 1) ::

You will create and stage a zap action (complete with manifesto, marketing materials, costumes, and props). You are encouraged to create zaps in groups, and you must consult with me on your topic and tactics one month in advance of your action.

Research Paper (40%; due Dec 15) ::

The final project consists of a 15-20 page research paper (MLA or Chicago format with footnotes and a bibliography) or the creation and presentation of a new and original performance piece demonstrating equal weight and effort.  You will develop the topic in consultation with me.

Course Calendar ::

Aug 25 :: Course Overview

• Terms, Methods, and Modes of Engagement
• After Orlando: How Queer is Now?
  
• Suggested Reading
  
• Christina B. Hanhardt, "Broken Windows at Blue’s: A Queer History of Gentrification and Policing," Verso Blog 14 June 2016.
• Ramón Rivera-Servera, "The Singular Experience of the Queer Latin Nightclub," The Nation 17 June 2016.
  

Aug 30 :: Queer Erotics

• Sharon Bridgforth, Love Conjure/Blues (Redbone, 2004).
• Sharon Bridgforth, Love Conjure/Blues (performance/video installation)
• Audre Lorde, “The Uses of the Erotic: The Erotic As Power,” Sister Outsider: Essays and Speeches (Freedom, CA: The Crossings Press, 1984), 53-59.
• Additional Grad Reading
  
• Omi Jones and Sharon Bridgforth, "Black Desire, Theatrical Jazz, and River See," TDR 58.4 (2014): 136-146.
  
• Audre Lorde, “The Master’s Tools with Never Dismantle the Master’s House,” Sister Outsider: Essays and Speeches (Freedom, CA: The Crossings Press, 1984), 53-59.
• Optional :: In da River with River See video

Sept 1 :: Intersectionality and Other Queer Yearnings I

• Sharon Bridgforth, Love Conjure/Blues (Redbone, 2004).
• "The Combahee River Collective Statement" (1977) in This Bridge Called My Back, 2nd Edition, eds. Cherríe Moraga and Gloria E. Anzaldúa (NY: Kitchen Table Press, 1983), 210-218.
• Jose Munoz, Dissidentifications: Queers of Color and the Performance of Politics (Minneapolis: University of Minnesota Press, 1999), 4-34.
• Additional Grad Reading
• Cathy J. Cohen, “Punks, Bulldaggers, and Welfare Queens: The Radical Potential of Queer Politics” in Black Queer Studies: A Critical Anthology, eds. E. Patrick Johnson and Mae Henderson (Durham: Duke UP, 2005), 21-51.

Sept 6 ::  Intersectionality and Other Queer Yearnings II

• Staceyann Chin, "Feminist or Womanist" (slam poem)
• Pat Parker, "Revolution: It's Not Neat, or Pretty, or Quick" in This Bridge Called My Back, 2nd Edition, eds. Cherríe Moraga and Gloria E. Anzaldúa (NY: Kitchen Table Press, 1983), 238-242.
• "About the Black Lives Matter Network" and "Principles" and "11 Major Misconceptions About the Black Lives Matter Movement" from blacklivesmatter.com
• Additional Grad Reading
• Barbara Christian, “The Race for Theory,” Cultural Critique 6 (Spring 1987): 51-63.

Sept 8 :: A Gay Old Time I

• Scholem Asch, God of Vengeance in Forbidden Acts: Pioneering Gay and Lesbian Plays of the Twentieth Century, ed. Ben Hodges (NY: Applause, 2003), 25-82.
• Explore the Gay Gotham Museum Exhibit (Oct 2016-Feb 2017)
  
• Jill Dolan, "Introduction" to The Queerest Art: Essays on Lesbian and Gay Theater, eds. Alisa Solomon and Framji Minwalla (NYU: NYU Press, 2002), 1-8.
  
• George Chauncey, Gay New York: Gender, Urban Culture, and the Making of the Gay Male World, 1890-1940 (NY: Basic Books, 1995), 1-33.

Sept 13 :: A Gay Old Time II

• Mae West, The Drag in Three Plays by Mae West (NY: Routledge), 95-143.
• Jordan Schildcrout, "'I Killed Him Because I Loved Him'" in Murder Most Queer: The Homicidal Homosexual in the American Theater (Ann Arbor: University of Michigan Press, 2014), 16-36.
• Shane Vogel, "Closing Time: Langston Hughes and the Queer Poetics of Harlem Nightlife," Criticism 48.3 (Summer 2006): 397-425.
• Lucille Bogan, "B.D. Women's Blues" (blues song)
• Imani Kai Johnson, "From Blues Women to b-girls: Performing Badass Femininity," Women & Performance: A Journal of Feminist Theory 24:1 (May 2014): 15-28.
• Sara Warner, "Contemporary Lesbian and Gay Drama" in The Cambridge History of Gay and Lesbian Literature, eds. Ellen McCallum and Mikko Tuhkanen (Cambridge: Cambridge UP, 2014), 607-625.
• Optional
• Alisa Solomon, "Great Sparkles of Lust: Homophobia and the Antitheatrical Tradition," The Queerest Art: Essays on Lesbian and Gay Theater, eds. Alisa Solomon and Framji Minwalla (NYU: NYU Press, 2002), 9-20.
• Laurence Senelick, “The Queer Roots of Theater” in in The Queerest Art: Essays on Lesbian and Gay Theater, eds. Alisa Solomon and Framji Minwalla (NYU: NYU Press, 2002), 21-39.

Sept 20 :: Shame, The Closet, and Coming Out

• Lillian Hellman, The Children’s Hour in Forbidden Acts: Pioneering Gay and Lesbian Plays of the Twentieth Century, ed. Ben Hodges (NY: Applause, 2003), 173-238.
• Douglas Crimp, "Mario Montez, For Shame" in Gay Shame, eds. Valerie Traub and David Halperin (Chicago: University of Chicago Press, 2009), 63-75.
• Eve Sedgwick, “Axiomatic” in The Cultural Studies Reader, ed. Simon During (NY: Routledge [1993] 1999), 320-339.
• Marlon B. Ross, “Beyond the Closet as Raceless Paradigm” in Black Queer Studies: A Critical Anthology, ed. E. Patrick Johnson and Mae Henderson (Durham: Duke UP, 2005), 161-189.

Sept 27 :: "Civil Sex"

• Robert Patrick, Indecent Exposure
• Explore Robert Patrick's Caffe Cino Archive
• Brian Freeman, Civil Sex in The Fire This Time: African-American Plays for the 21st Century, eds. Robert O'Hara, Harry Elam Jr., and Robert Alexander (NY: TCG, 2002).
• John D'Emilio, "Homophobia and the Trajectory of Postwar American Radicalism: The Career of Bayard Rustin," Radical History Review 62 (Spring 1995): 81-103.
• Don Shewey, “’Be True to Yearning’: Notes on the Pioneers of Queer Theater” in The Queerest Art: Essays on Lesbian and Gay Theater, eds. Alisa Solomon and Framji Minwalla (NYU: NYU Press, 2002), 124-134.
• Optional
• Ron Vawter, Roy Cohen/Jack Smith in O Solo Homo: The New Queer Performance (NY: Grove Press, 1998), 441-476.
• Jose Munoz, "Preface" to Dissidentifications: Queers of Color and the Performance of Politics (Minneapolis: University of Minnesota Press, 1999), ix-xiv.
• Watch Brother Outsider (LogoTV in 10 parts)
  
• Martin Manalansan IV, “In The Shadows of Stonewall: Examining Gay Transnational Politics and the Diasporic Dilemma,” GLQ: A Journal of Lesbian and Gay Studies 2.4 (1995): 425-438.

Oct 4 :: Camping it Up

• Mart Crowley, The Boys in the Band in Forbidden Acts: Pioneering Gay and Lesbian Plays of the Twentieth Century, ed. Ben Hodges (NY: Applause, 2003), 443-518.
• Carmelita Tropicana, I, Carmelita: Performing Between Cultures (NY: Beacon, 2000), xiii-1; 52-71.
• Sara Warner, Acts of Gaiety: LGBT Performance and the Politics of Pleasure (Ann Arbor: University of Michigan Press), ix-xxii; 1-30.
• Susan Sontag, “Notes on ‘Camp’” in Against Interpretation and Other Essays (NY: Farrar, Straus & Giroux, 1966), 275-292.
• Optional:
• Moe Angelos et. al, “From the Invisible to the Ridiculous: The Emergence of an Out Theater Aesthetic” in The Queerest Art: Essays on Lesbian and Gay Theater, eds. Alisa Solomon and Framji Minwalla (NYU: NYU Press, 2002), 135-151.
• Carmelita Tropicana, “Goodnight Irene,” The Queerest Art: Essays on Lesbian and Gay Theater, eds. Alisa Solomon and Framji Minwalla (NYU: NYU Press, 2002), 261-266.
• Watch The Boys in the Band
  

Oct 11 :: Fall Break

Oct 18 :: Scummy Insurgents and Other Lesbian Killjoys

• Valerie Solanas, Up Your Ass (NY: SCUM Books, 1965).
• Valerie Solanas, SCUM Manifesto (NY: SCUM Books, 1967).
• Holly Hughes, Clit Notes: A Sapphic Sampler (NY: Grove, 1996), 1-24; 151-208.
  
• Sara Ahmed, “Killing Joy: Feminism and the History of Happiness,” Signs 35. 3 (Spring 2010): 571-594.
• Sara Warner, Acts of Gaiety: LGBT Performance and the Politics of Pleasure (Ann Arbor: University of Michigan Press), 31-71.
• Optional:
• Jenna Danchuk, “I Explored Toronto's Lesbian Feminist Haunted House—And Survived,” Bitch Magazine 22 October 2013.
• Allyson Mitchell’s website
• Holly Hughes and David Román, eds. O Solo Homo: The New Queer Performance (NY: Grove Press, 1998), 1-16.
• Richard Meyer, “Have You Heard the One about the Lesbian Who Goes to the Supreme Court?": Holly Hughes and the Case against Censorship,” Theatre Journal Vol. 52, No. 4 (Dec 2000): 543-552.

Oct 25 :: Capitalizing on Queerness I:

• Watch video of the Gay Activist Alliance Marriage Zap (1971) in three parts
• Sara Warner, Acts of Gaiety: LGBT Performance and the Politics of Pleasure (Ann Arbor: University of Michigan Press), 72-104.
• Five Lesbian Brothers, The Secretaries, (NY: Samuel French, 1993).
• John D’Emilio, “Capitalism and Gay Identity” in Powers of Desire: The Politics of Sexuality, eds. Ann Snitow, Christine Stansell, and Sharan Thompson (NY: Monthly Review Press, 1983), 100-113.
• Michael Warner, The Trouble With Normal: Sex, Politics, and The Ethics of Gay Life (Cambridge: Harvard University Press, 1999), 81-147.
• Plot Zap Actions (???)
  
• Optional:
• Wendy Brown, "How Neoliberalism Threatens Democracy" (video interview)
• Patrick McKelvey, "Ron Whyte's “Disemployment”: Prosthetic Performance and Theatrical Labor," Theatre Survey 57.3 (September 2016): 314-335.
• Sara Warner, “Rage Slaves: The Commodification Of Affect In The Five Lesbian Brothers’ The Secretaries,” The Journal of Dramatic Theory and Criticism XIII (Spring 2008): 21-45.
• Suggested Performance: Urban Bush Women Oct 25 @ 7:30 Kip

Nov 1 :: Capitalizing on Queerness II

• Denise Uyehara, “Hello (Sex) Kitty: Mad Asian Bitch on Wheels” in O Solo Homo: The New Queer Performance (NY: Grove Press, 1998), 375-410.
• Watch excerpts from Margaret Cho's Revolution (entire video if you can)
• David Eng and Alice Hom, "Q&A: Notes on a Queer Asian America," Q&A: Queer in Asian America (Philadelphia: Temple UP, 1998), 1-24.
• Optional
• Susan Pelle, “The “Grotesque” Pussy: “Transformational Shame” in Margaret Cho's Stand-up Performances,” Text and Performance Quarterly 30.1 (2010): 21-37.
• Arlene Stein, “From Gender to Sexuality and Back Again: Notes on the Politics of Sexual Knowledge,” GLQ: A Journal of Lesbian and Gay Studies 10.2 (2
• Sara Warner, “Chronic Desires: Theater’s Aching Lesbian Bodies” in Contemporary Women Playwrights: Into the Twenty-First Century, eds. Penny Farfan and Lesley Ferris (NY: Palgrave, 2013), 50-65.004): 254-257.
• Required Performance: The Baltimore Waltz Nov 3-5, Black Box
• Jill Dolan, The Feminist Spectator in Action: Feminist Criticism for the Stage and Screen (NY: Palgrave, 2013).
• “How to Write a Theater Review” and “Theater Review Worksheet”

Nov 8 :: Institutionalizing Sex I

• Lisa Kron, Well (NY: TCG, 2005).
• Madeleine George, Seven Homeless Mammoths Wander New England
  
• Michel Foucault, The History of Sexuality, Vol 1, trans. Robert Hurley (NY: Pantheon, 1978).
• George Chauncey, “The Queer History and Politics of Lesbian and Gay Studies," Queer Frontiers: Millennial Geographies, Genders, and Generations (Madison: University of Wisconsin Press, 2000), 298-315.
• Required Performance: After Orlando Nov 9 (Kava Lounge) and Nov 10 (Film Forum) 7:30 pm

Nov 15 :: Acting Up over AIDS 

• Paula Vogel, The Baltimore Waltz (NY: TCG, 1995).
• Tim Miller, Naked Breath in Holly Hughes and David Román, eds. O Solo Homo: The New Queer Performance (NY: Grove Press, 1998), 49-92.
• David Román and Tim Miller, "Preaching to the Converted" in The Queerest Art: Essays on Lesbian and Gay Theater, eds. Alisa Solomon and Framji Minwalla (NYU: NYU Press, 2002), 203-226.
• Alisa Solomon, “AIDS Crusaders Act Up a Storm” in Radical Street Performance, ed. Jan Cohen-Cruz (NY: Routledge, 1998), 42-51.
• David Román, “Not about AIDS” in Performance in America: Contemporary US Culture and the Performing Arts (Durham: Duke UP, 2005), 49-77.
• Optional:
• William Hoffman, As Is in Forbidden Acts: Pioneering Gay and Lesbian Plays of the Twentieth Century, ed. Ben Hodges (NY: Applause, 2003), 593-652.
• Watch Video How to Survive a Plague

Nov 22 :: Transgender Embodiments I

• Due Performance Review: The Baltimore Waltz
• Video: Paris is Burning (Netflix - group viewing to be arranged)
• Video: Leave it on the Floor
• "Why We Need to Redefine Gender," Allure 17 October 2016
• Marlon Bailey, Butch Queens Up in Pumps (Ann Arbor: University of Michigan Press, 2013).
• Judith Butler, "Gender is  Burning: Questions of Appropriation and Subversion" in Bodies the Matter: On the Discursive Limits of "Sex" (NY: Routledge, 2011), 121-140.
• Video: Laverne Cox (of Orange is The New Black) Schools Katie Couric

Nov 29 :: Transgender Embodiments II

• Taylor Mac, Hir (Evanston: Northwestern University Press, 2015).
• Kate Bornstein’s “It Gets Better Video”
• Judith Halberstam, In a Queer Time and Place: Transgender Bodies, Subcultural Lives (NY: NYU, 2005), 76-96.
• Lucas Hilderbrand, “More Than One Way to Love”: On Kiki and Herb (but Mostly Kiki),” Camera Obscura (2008) 23(1 67): 178-183.
• Susan Stryker, Transgender History (Berkeley: Seal, 2008), vii-30.
• Optional:
• Kate Bornstein, Virtually Yours in O Solo Homo: The New Queer Performance (NY: Grove Press, 1998), 229-278.
• Kate Bornstein, Hello Cruel World Lite

• Due Performance Review: The Baltimore Waltz

Dec 1 :: The Future of Queer Studies

• Brian Freeman, “When We Were Warriors” in The Queerest Art: Essays on Lesbian and Gay Theater, eds. Alisa Solomon and Framji Minwalla (NYU: NYU Press, 2002), 247-253.
• David Eng, Judith Halberstam, and José Esteban Muñoz, “What’s Queer about Queer Studies Now?” Social Text, nos. 84-85 (Winter 2005).
• Michael Warner, “Queer & Then,” The Chronicle of Higher Education, January 1, 2012 http://chronicle.com/article/QueerThen-/130161/.
• Course Evaluations
• Graduate student papers due Dec 15

Course Texts :: Available at the CU Bookstore

• ISBN: 9780965665964 Bridgforth, Sharon. Love Conjure/Blues (Redbone, 2004).
• ISBN: 9780573700859 George, Madeleine. Seven Homeless Mammoths Wander New England (NY: Samuel French, 2012). 
• ISBN: 9780802133335 Holly Hughes, Clit Notes: A Sapphic Sampler (NY: Grove, 1996).
• ISBN: 978-0802135704 Hughes, Holly and David Román, eds. O Solo Homo: The New Queer Performance (NY: Grove Press, 1998).
• ISBN: 978-1557835871 Hodges, Ben.  Forbidden Acts: Pioneering Gay and Lesbian Plays of the Twentieth Century (NY: Applause, 2003).
• ISBN: 0822336189 Johnson, E. Patrick and Mae G. Henderson. Black Queer Studies: A Critical Anthology (Durham: Duke UP, 2005).
• ISBN: 9781559362535 Kron, Lisa. Well (NY: TCG, 2005).
• ISBN: 9780810133587 Mac, Taylor. Hir (Evanston: Northwestern University Press, 2015).
• ISBN: 978-0814798119 Solomon, Alisa and Framji Minwalla. The Queerest Art: Essays on Lesbian and Gay Theater (NY: NYU Press, 2002).
• ISBN: 9780807066034 Troyano, Alina.  I, Carmelita: Performing Between Cultures (NY: Beacon, 2000).
• ISBN: 9780472035670 Warner, Sara. Acts of Gaiety: LGBT Performance and the Politics of Pleasure (Ann Arbor: University of Michigan Press, 2013).
• ISBN: 978-1559361095 Paula Vogel, The Baltimore Waltz and Other Plays (NY: TCG, 1995).

Course Packet :: on-line (login: pma3755; password: drama) :: please note this course is not on Blackboard