Gay and Lesbian Theater

“Gay and Lesbian Theater” Gay and Lesbian themes were introduced into the theater before the 1960s. Long before homosexual characters were seen in American plays on a regular basis, there were isolated incidents when a gay or lesbian appeared in the plot; they were called freaks when doing so. Many people were often offended by homosexuality. Cross dressing was used in performances that raised concerns about sexual and gender roles: men dressed in drag and women wore men clothing. Festivals were used to educate and entertain audiences.

The theater festival was introduced to spread awareness on issues, themes, and problems that deals with gay and lesbian lifestyles in the theater. Edward Albee, William Inge, and Tennessee Williams all introduced works in the mainstream. The mainstream theatre is embracing theatre with Gay and Lesbian themes. Sometimes the move forward is furiously examined by Gays and Lesbians, like for the various performances of straight Vivienne Laxdal ‘s Karla and Grif. Many gays and lesbians found it offensive for its stereotypical lesbian characters and others found it refreshing for its depiction of the fluidity of sexuality.

Other works such as The Boys in the Band has been successful at bringing out this sexuality. In 1980 a play as such was proven to be enjoyable and considered a new kind of play. Dealing with issues of gays is being expressed more often. In certain dramas, lifestyles of gays and lesbians were forthrightly presented. A sense of urgency was engendered by the AIDS crisis and gay rights as another concerned issue. Viewing a play like this myself tells me that it’s very true. Many people came out to see La Cage Aux Folles when I believed it would not be interesting or crowded.

Other people know if actors are gay, lesbian, or bisexual, but few people would disagree that the theater world is friendly toward a variety of nonconformist than most professional fields. Same-sex love has been associated with acting for over 2000 years in the west during Roman times. It has been said that these types of relationships are accepted in this type of profession because it’s considered the least respectful environment. Viewers are less likely to accept same-sex lovers than the company who hires them.

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The text stated that gay, lesbian, and bisexual actors support the Queer Theory considers the “performative” nature of gender: the idea that gender “identity” is actually nothing more than a “role” actor learns to do what’s necessary. Actors may be more skilled at their role with this type of experiment and not be judged by society, if that statement is true. Living double lives in the theater wasn’t very hard to do. Publicist often manipulated the media making easier for actors to do so. Actors such as Montgomery Clift, James Dean, Greta Garbo, Cary Grant, and Randolph Scott lived these constricted lives.

The text stated that 29 percent of Americans would be “less interested” in seeing their favorite actor perform in a movie or TV show if they learned that he or she was “gay” in 1995. Many actors who were gay often didn’t want their named linked to anything they choose to provide to the media. Gay and lesbian actors are more seen in films and on stage a lot more today. Sexuality is still a question rather it should be should treated as heterosexuals would still remains. You can enjoy an ordinary film the same you would a film with homosexuals. As I stated early I’ve viewed a play with men dressed in drag as well as men dating women in a play.

Their acting skills are just the same. Who or how they choose to live their personal lives doesn’t affect their acting skills. Some viewers still don’t agree with it along with critic but it’s amongst our society within all cultures. Bibliography Hischak, Gerald Bordman and Thomas S. “Gay and Lesbian Theatre in America. ” 2004. The Oxford Companion to America Theater. 20 April 2010 ;http://www. encyclopedia. com;. ;. Hudson, Steve Hogan and Lee. Completely Queer: The Gay and Lesbian Encyclopedia. Markham: Henry Holt and Company Inc. , 1998. Wilson, Edwin. The Theatre Experience. 11th. New York: McGraw-Hill, 2009.

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