This book examines sexuality, gender and race in Australia’s vibrant independent theatre and performance culture. It analyses selected feminist and queer performances that interrogate the cultural construction of sexuality and gender, challenge the normative trends of mainstream Australian society and culture and open up spaces for alternative representations of gender identity and sexual expression. Offering the first full-length study on sexuality and gender in Australian theatre since 2005, this book reveals a resurgence of feminist themes in independent performance and explores the intersection of feminist and queer politics. Ranging across drag, burlesque, cabaret, theatre and performance art, the book provides an accessible and engaging account of some of the most innovative, entertaining and politically subversive Australian theatrical works from the past decade.

This is a landmark anthology of international feminist theatre research. A three-part structure orientates readers through Cartographies of feminist critical navigations of the global arena; the staging of feminist Interventions in a range of international contexts; and Manifestos for today's feminist practitioners, activists and academics.

This beautifully written and well-informed book presents a comprehensive study of Zuni Icosahedron, a Hong Kong avant-garde theatre and dance company, and calls into question the relationship between culture and politics during the last years of British colonial rule. Through both fieldwork and textual analysis, the author explores the double-bind tensions between Chinese and Western aesthetic forms, while examining identity and gender within representation as part of the dramatization of an increasingly uncertain present. Incorporating insights from cultural studies, feminism, anthropology, and queer theory, this imaginative unpacks current debates over Hong Kong identity through the kaleidoscope of avant-garde theatre performances.

Sue-Ellen Case is arguably the most influential and significant scholar in feminist and queer theatre studies. This collection brings together her most important writing. Framing this with new introductory material, Sue-Ellen Case will contextualise her work within broader developments in critical theory and feminist / lesbian studies.

In Feminism is Queer, Mimi Marinucci provides a valuable introduction to the intimately related disciplines of gender and queer theory, and develops the innovative concept of queer feminism, which treats queer theory as being continuous with feminist theory. While there were significant conceptual tensions between second-wave feminism and traditional lesbian and gay studies, queer feminism offers a paradigm for understanding gender, sex and sexuality that overcomes this conflict in order to foster solidarity between those campaigning for women's rights and those for LGBTQ rights. This updated and expanded edition engages with the latest developments in feminism and queer theory, including the new forms of both feminism and 'antifeminism' which have developed within online communities, the growing prominence of trans experiences in popular media, and the relevancy of queer feminism to a new generation of feminist activists. Feminism is Queer remains the indispensable guide for anyone with an interest in gender, sexuality, and the connections between feminism and queer issues.

The purpose of this Handbook is to provide students with an overview of key developments in queer and trans feminist theories and their significance to the field of contemporary performance studies. It presents new insights highlighting the ways in which rigid or punishing notions of gender, sexuality and race continue to flourish in systems of knowledge, faith and power which are relevant to a new generation of queer and trans feminist performers today. The guiding question for the Handbook is: How do queer and trans feminist theories enhance our understanding of developments in feminist performance today, and will this discussion give rise to new ways of theorizing contemporary performance? As such, the volume will survey a new generation of performers and theorists, as well as senior scholars, who engage and redefine the limits of performance. The chapters will demonstrate how intersectional, queer and trans feminist theoretical tools support new analyses of performance with a global focus. The primary audience will be students of theatre/ performance studies as well as queer /gender studies. The volume’s contents suggest close links between the formation of queer feminist identities alongside recent key political developments with transnational resonances. Furthermore, the emergence of new queer and trans feminist epistemologies prompts a reorientation regarding performance and identities in a 21st-century context.

Queer Dance challenges social norms and enacts queer coalition across the LGBTQ community. The book joins forces with feminist, anti-racist, and anti-colonial work to consider how bodies are forces of social change.