By Sara Warner
Acts of Gaiety explores the mirthful modes of political functionality by means of LGBT artists, activists, and collectives that experience encouraged and sustained lethal critical struggles for innovative swap. The booklet explores antics corresponding to camp, kitsch, drag, guerrilla theater, zap activities, rallies, manifestos, pageants, and parades along extra standard sorts of "legitimate theater." opposed to queer theory's long-suffering romance with mourning and melancholia and a countrywide schedule that urges homosexuals to give up excitement in the event that they are looking to be taken heavily via mainstream society, Acts of Gaiety seeks to reanimate notions of "gaiety" as a political worth for LGBT activism.
The publication mines the records of lesbian-feminist activism of the 1960s-70s, highlighting the outrageous gaiety that lay on the heart of the social and theatrical performances of the period and uncovering unique files lengthy regarded as misplaced. Juxtaposing old figures corresponding to Valerie Solanas and Jill Johnston with more moderen performers and activists (including Hothead Paisan, whinge & Animal, and the 5 Lesbian Brothers), Warner indicates how reclaiming this principally discarded and disavowed previous elucidates chances for being and belonging. Acts of Gaiety explores the at the same time informing histories of gayness as politics and as joie de vivre, in addition to the centrality of liveliness to queer functionality and protest.
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Additional resources for Acts of Gaiety: LGBT Performance and the Politics of Pleasure
We show our pubic hair. ” Unable to counter this 18 Acts of Gaiety display of military might, homosexuals used the most effective weapon in their arsenal: gaiety. Satire and parody are disarming; they mock objects of reverence and authority, toppling them from their exalted position by rendering them absurd and ridiculous. Kicking and screaming, this chorus of queers’ riotous laughter rendered the cops impotent if not pathetic. When disciplinary regimes go to such extremes—in this case tear gas and assault rifles—to show how obscene and revolting homosexuals are, often the only thing gays can do is show how ludicrous homophobia is.
One of the group’s best-known productions is the Obie Award–winning Belle Reprieve, a parody of Tennessee Williams’s Streetcar Named Desire, which they created in collaboration with Bette Bourne and Paul Shaw (aka, Precious Pearl) of Bloolips, an anarchic drag troupe from London. Shaw and Bourne (who became radicalized though a cell of GLF) had worked together years earlier when both were members of the glam fab cabaret group Hot Peaches. While on tour in Berlin in the late 1970s, Hot Peaches received a request from Spiderwoman, which was also performing there, asking to borrow some costumes, as the group’s luggage had been lost in transit.
In which they asked contributors to discuss what constitutes queer theory other than an abiding interest in sexuality. 4 Introduction 3 The general consensus of these collections and convocations, assembling queer theorists old and new, is that we must pay greater attention to the imbrication of sexual politics with other historical forces, political dynamics, and spheres of social engagement. This was echoed in another forum on recent trends in sex and gender studies, a 2006 roundtable on the topic of queer temporalities.