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11 Richard Halverson as Lady Enid and Jim Cunningham as her maid in The Mystery of Irma Vep, the Milwaukee Repertory Theatre, by Mark Avery. Courtesy Mark Avery. 12 Liberace with Mom. Photo credit: Hollywood Press Syndicate, reprinted from Liberace 1973. Courtesy Liberace Foundation for the Performing Arts. 13 Liberace’s 1984 souvenir program cover with all the key symbols. Photo credit: Bob Plunket, reprinted from Liberace 1985. Courtesy Liberace Foundation for the Performing Arts. 14 Liberace in long cape with high-standing collar. Photo credit: the James Agency, reprinted from Liberace 1985. Courtesy Liberace Foundation for the Performing Arts. 15 Liberace spreading his cape, invoking Bela Lugosi as Dracula. Photo credit: the James Agency, reprinted in Thomas 1987. Courtesy Liberace Foundation for the Performing Arts. 16 Liberace was Count Dracula aglitter. …Photo credit: Bob Plunket, reprinted from Liberace 1985. Courtesy Liberace Foundation for the Performing Arts. vii
CONTRIBUTORS Gregory W.Bredbeck is Associate Professor of English at the University of California, Riverside. His most recent book is Sodomy and Interpretation: Marlowe to Milton. He is currently preparing a new book entitled Stone/Wall: Representational Histories of Queer Identity. Kate Davy is Associate Professor of Drama and Women’s Studies and Associate Dean of the School of Fine Arts at the University of California, Irvine. She is the author of Richard Foreman and the Ontological-Hysteric Theatre and editor of Richard Foreman: Plays and Manifestos. She is preparing a book about the artists affiliated with the WOW Cafe in New York. Margaret Thompson Drewal is Associate Professor of Performance Studies at Northwestern University. She is co-author, with Henry John Drewal, of Gelede: Art and Female Power among the Yoruba, and the author of Yoruba Ritual: Performers, Play, Agency (Indiana University Press, 1992). Thomas A.King is Assistant Professor of English at Brandeis University. He is preparing a book entitled The Tactical Body: Staging Identity in London, 1660–1740. Chuck Kleinhans is Associate Professor of Radio, Television, Film at Northwestern University. He is editor of Jump Cut, journal of film theory and criticism, and is preparing a new book entitled Mass Culture and Countercultures: The Dialectics of Media and Change. Moe Meyer is Mellon Fellow in Contemporary Arts Criticism at the California Institute of the Arts. He is preparing a book entitled Oscar Wilde’s Body: A Study in Containment and Camp. Cynthia Morrill is a graduate student in the Department of English, University of California, Riverside, where she is completing her dissertation, “The Performance of Queerness.”
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Page 4 and 5: First published 1994 by Routledge 1
Page 6 and 7: CONTENTS List of plates vi List of
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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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46 THE POLITICS AND POETICS OF CAMP
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112 FE/MALE IMPERSONATION pieces th
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126 FE/MALE IMPERSONATION Case, Sue
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Plate 9 Claire Moed as Sir Oliver S
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THE CAMP TRACE IN CORPORATE AMERICA
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eternal youthfulness; and the way h
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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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