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110 REVAMPING THE GAY SENSIBILITY Jameson, Fredric. 1982. “Postmodernism and Consumer Society.” In Hal Foster (ed.). The Anti-Aesthetic: Essays on Postmodern Culture. Port Townsend, Washington: Bay Press, 111–125. Jenkins, Steve. 1982. “James M.Cain and Film Noir: A Reply to Frank Krutnik.” Screen 23/5:80–82. Modleski, Tania. 1991. Feminism without Women: Culture and Criticism in a “Postfeminist” Age. New York: Routledge. Riviere, Joan. 1929. “Womanliness as Masquerade.” In Victor Burgin, James Donald, and Cora Kaplan (eds). 1986. Formations of Fantasy. New York: Methuen, 35–61. Rose, Jacqueline and Juliet Mitchell (eds). 1982. Feminine Sexuality: Jacques Lacan and the Ecole Freudienne. New York: Norton. Ross, Andrew. 1989. “Uses of Camp.” No Respect: Intellectuals and Popular Culture. New York: Routledge, 135–170. Schulman, Sarah. 1988. After Delores. New York: New American Library. Showalter, Elaine. 1983. “Critical Cross-Dressing: Male Feminists and the Woman of the Year.” Raritan 3/2:130–149. Sontag, Susan. 1964. “Notes on Camp.” 1983. A Susan Sontag Reader. New York: Vintage Books, 105–119. Tyler, Carole-Anne. 1990. “The Feminine Look.” In Martin Kreiswirth and Mark A.Cheetham (eds). Theory between the Disciplines. Ann Arbor: University of Michigan Press, 191–201. ——1991. “Boys Will Be Girls: The Politics of Gay Drag.” In Diana Fuss (ed.). Inside/ Out: Lesbian Theories, Gay Theories. New York: Routledge, 32–70.
5 FE/MALE IMPERSONATION The discourse of Camp Kate Davy In the course of what is still a relatively brief history of feminist criticism in theatre, much has been written about work that originated in a woman-run performance space in New York called the WOW Cafe. 1 As a collective endeavor, WOW (Women’s One World) has no single artistic vision guiding its productions; at base it is a producing organization that allows members of its collective to showcase work. The result is a wide range of offerings each season representing enormously disparate production types and performance styles. WOW is as much a community as it is a theatre and because any member of the collective can produce and perform—including women with no previous training or experience in theatre—shows at WOW vary as much in quality as they do in approach. WOW might be considered a kind of preeminent community theatre, which is not to suggest that its importance lies primarily in its sociology. Some of the most significant feminist theatre of the last decade was created by women who started at WOW and most of these women continue to work there. Despite vastly different artistic abilities and sensibilities, however, a common and compelling feature of WOW performances can be identified, one that distinguishes WOW work from that of other theatres. WOW productions represent lesbian sexualities on the stage and presume lesbians as the audience. Lisa Kron, a professionally trained actress and long-time WOW director and performer, admits, “Sometimes our theatre is really rough. But the audience we play for needs us. Lesbians never see themselves represented. And seeing yourself represented is what makes you feel you have a place in the world” (qtd in Chansky 39–41). The world as constituted by lesbians and inhabited by lesbians is the premise from which most WOW productions proceed, a premise whose consequences radically shift the nature of the performative address. These are not “coming-out” plays addressed to straight audiences in a bid for understanding and acceptance. Nor are they plays about lesbian relationships within separatist communities. Instead, parody is the staple of WOW productions, parodies that take on a wide range of forms, from reworkings of classical texts, to spoofs on genres such as the detective film, the romance novel, and the television talk show, soap opera, or sitcom. Some WOW artists employ avant-garde strategies to make essentially non-narrative work, pieces structured more like a poem than a plot. Performance
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First published 1994 by Routledge 1
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CONTENTS List of plates vi List of
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11 Richard Halverson as Lady Enid a
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ACKNOWLEDGMENTS I would like to tha
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1 PERFORMING “AKIMBO” Queer pri
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Plate 1 Joan Jett Blakk, “The May
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Plate 3 Prince Rupert, from a broad
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Plate 5 Actor Robert Wilks, from Co
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Plate 7 Antinous and Dancing Master
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2 NARCISSUS IN THE WILDE Textual ca
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THE CAMP TRACE IN CORPORATE AMERICA
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7 TAKING OUT THE TRASH Camp and the
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homosocialism 35-6, 43-4 Hutcheon,
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