Bibliography for DT2406: Theatre & Ideas: The Ideas of Gender & Sexuality BETA

‘7 Reasons I Use “Queer” Instead of Lesbian’. n.d. https://www.bustle.com/articles/170551-7-reasons-i-use-queer-instead-of-lesbian.

Albert Innaurato. n.d. Gemini.

‘Angels in America on iTunes’. n.d. https://itunes.apple.com/gb/tv-season/angels-in-america/id640160306.

Annie Sprinkle. 2001a. ‘Herstory of Porn’. In Hardcore from the Heart: The Pleasures, Profits and Politics of Creative Sexual Expression - Annie Sprinkle Solo. Continuum International Publishing Group Ltd.

———. 2001b. ‘Metamorphosexual Mud Bath’. In Hardcore from the Heart: The Pleasures, Profits and Politics of Creative Sexual Expression - Annie Sprinkle Solo, 27–31. Continuum International Publishing Group Ltd.

Attwood, Feona. 2006. ‘Sexed Up: Theorizing the Sexualization of Culture’. Sexualities 9 (1): 77–94. https://doi.org/10.1177/1363460706053336.

Baker, Annie. 2009. Body Awareness. New York: Samuel French.

Bartleet, Carina. 2010. ‘Sarah Daniels: Feminist Enque(e)Ry within the Mainstream’. New Theatre Quarterly 26 (02): 145–60. https://doi.org/10.1017/S0266464X1000028X.

Beautiful Thing. n.d. https://doi.org/10.5040/9781408164549.00000005.

Bennett, Alan. 2004a. The History Boys. London: Faber.

———. 2004b. ‘The History Boys’. Electronic resource. http://dx.doi.org/10.5040/9780571289325.00000008.

Bent. n.d. https://doi.org/10.5040/9781408168899.00000014.

Blackman, Lisa. 2009. ‘The Re-Making of Sexual Kinds: Queer Subjects and the Limits of Representation’. Journal of Lesbian Studies 13 (2): 122–35. https://doi.org/10.1080/10894160802695312.

Brendan Healy. 2016. ‘Seven Reasons Why I Believe We (Still) Need a Queer Theatre’. Canadian Theatre Review 165 (165): 84–86. https://muse.jhu.edu/article/609626.

Brittain, Jon. 2017a. Rotterdam. Vol. Methuen modern plays. London: Bloomsbury Methuen Drama, an imprint of Bloomsbury Publishing.

———. 2017b. ‘Rotterdam’ Modern plays. http://dx.doi.org/10.5040/9781350018358.00000004.

Butler, Judith. 2006a. Gender Trouble: Feminism and the Subversion of Identity. Vol. Routledge classics. New York: Routledge.

———. 2006b. Gender Trouble: Feminism and the Subversion of Identity. Electronic book. 2nd ed. Vol. Routledge classics. New York: Routledge. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=710077.

———. 2006c. Gender Trouble: Feminism and the Subversion of Identity. 2nd ed. New York: Routledge.

———. 2006d. Gender Trouble: Feminism and the Subversion of Identity. Electronic book. 2nd ed. New York: Routledge. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=710077.

Campbell, Alexi Kaye. 2013. The Pride. New edition. London: Nick Hern Books.

———. 2015. ‘The Pride’. http://dx.doi.org/10.5040/9781784600167.40000004.

Carol Schafer. 2008. ‘Staging a New Literary History: Suzan-Lori Parks’s Venus, In the Blood, and Fucking A’. Comparative Drama 42 (2). https://www.jstor.org/stable/23038019?seq=1#metadata_info_tab_contents.

Chambers, Jane. 1982. Last Summer at Bluefish Cove: A Play in Two Acts. Vol. JH Press gay play script series. New York, N.Y.: JH Press.

Christina Cauterucci. 2016. ‘Lesbian No Longer Works for Many Young Queer Women. But Can a Community Exist Without a Name?’ Slate Magazine. http://www.slate.com/blogs/outward/2016/12/20/young_queer_women_don_t_like_lesbian_as_a_name_here_s_why.html?via=gdpr-consent.

Churchill, Caryl. 1989. Cloud Nine. London: Hern.

———. 2013. Cloud 9. Electronic resource. Reprinted with revisions. London: Nick Hern Books. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1359691.

Collins, Patricia Hill. 2000. Black Feminist Thought: Knowledge, Consciousness, and the Politics of Empowerment. 2nd ed. New York: Routledge.

Connell, R. W. 2002a. Gender. Cambridge: Polity.

———. 2002b. Gender. Cambridge: Polity.

Daniels, Sarah. 1986a. Neaptide. London: Methuen.

———. 1986b. Neaptide. London: Methuen.

Dolan, Jill. 1987a. ‘“The Dynamics of Desire: Sexuality and Gender in Pornography and Performance” in Theatre Journal’. Theatre Journal 39 (2). https://doi.org/10.2307/3207686.

———. 1987b. ‘The Dynamics of Desire: Sexuality and Gender in Pornography and Performance’. Theatre Journal 39 (2). https://doi.org/10.2307/3207686.

———. 2010a. Theatre & Sexuality. Vol. Theatre&. Basingstoke: Palgrave Macmillan.

———. 2010b. Theatre & Sexuality. Basingstoke: Palgrave Macmillan.

Dowie, Claire. 1996a. Why Is John Lennon Wearing a Skirt: And Other Stand-up Theatre Plays. London: Methuen Drama.

———. 1996b. Why Is John Lennon Wearing a Skirt: And Other Stand-up Theatre Plays. London: Methuen Drama. http://www.dramaonlinelibrary.com/plays/why-is-john-lennon-wearing-a-skirt-iid-18088.

Dymkowski, Christine. 1996. ‘Breaking the Rules: The Plays of Sarah Daniels’. Contemporary Theatre Review 5 (1–2): 63–75. https://doi.org/10.1080/10486809608568382.

Elyot, Kevin. 1994. My Night With Reg. London: Hern.

———. 2015. ‘My Night With Reg’. http://dx.doi.org/10.5040/9781784600822.00000007.

———. n.d. My Night with Reg. https://doi.org/10.5040/9781784600822.00000007.

Fisher, J. 2008. ‘We Will Be Citizens’: New Essays on Gay and Lesbian Theatre. Jefferson, N.C.: McFarland & Company.

Fisher, James. 2008. ‘From Tolerance to Liberation: Gay Drama in the Mainstream from “Torch Song Trilogy” and “The Normal Heart” to “Angels in America”, “Love! Valour! Compassion!” and “Take Me Out”’. In ‘We Will Be Citizens’: New Essays on Gay and Lesbian Theatre, 7–31. Jefferson, N.C.: McFarland & Company.

———. 2009. ‘We Will Be Citizens’: New Essays on Gay and Lesbian Theatre. Electronic resource. Jefferson, N.C.: McFarland & Company. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1594725.

Foster, Verna A. 2007. ‘Nurturing and Murderous Mothers in Suzan-Lori Parks’s In the Blood and Fucking A’. American Drama. https://literature.proquest.com/searchFullrec.do?id=R03887510&area=abell&forward=critref_fr&DurUrl=Yes.

Freeman, Sara. 2014a. ‘Gay Sweatshop, Alternative Theatre, and Strategies for New Writing’. New Theatre Quarterly 30 (02): 136–53. https://doi.org/10.1017/S0266464X14000256.

———. 2014b. ‘Gay Sweatshop, Alternative Theatre, and Strategies for New Writing’. New Theatre Quarterly 30 (02): 136–53. https://doi.org/10.1017/S0266464X14000256.

———. 2014c. ‘Gay Sweatshop, Alternative Theatre, and Strategies for New Writing’. New Theatre Quarterly 30 (02): 136–53. https://doi.org/10.1017/S0266464X14000256.

Fuchs, Elinor. 1989a. ‘Staging the Obscene Body’. TDR (1988-) 33 (1). https://doi.org/10.2307/1145943.

———. 1989b. ‘Staging the Obscene Body’. TDR 33 (1). https://doi.org/10.2307/1145943.

‘Fun Home Script’. n.d. https://drive.google.com/file/d/0BznEdG6hnlWpR1RtN0R1QXJKWmc/view.

Gale, Maggie B., and Viv Gardner. 2004. Auto/Biography and Identity: Women, Theatre and Performance. Manchester: Manchester University Press.

Gardiner, J. K. 2011. ‘Queering Genre: Alison Bechdel’s Fun Home: A Family Tragicomic and The Essential Dykes to Watch Out For’. Contemporary Women’s Writing 5 (3): 188–207. https://doi.org/10.1093/cww/vpr015.

Gay Theatre. n.d. Bloomsbury PublishingNick Hern BooksBloomsbury PublishingPlaywrights Canada PressBloomsbury PublishingAurora Metro BooksBloomsbury PublishingAurora Metro BooksFaber and FaberNick Hern Books. http://www.dramaonlinelibrary.com/genres/gay-theatre-iid-2486.

Goodman, Lizbeth, and Jane De Gay. 1998a. The Routledge Reader in Gender and Performance. New York: Routledge.

———. 1998b. The Routledge Reader in Gender and Performance. Electronic book. London: Routledge. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=169236.

———. 1998c. The Routledge Reader in Gender and Performance. New York: Routledge.

———. 1998d. The Routledge Reader in Gender and Performance. Electronic book. London: Routledge. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=169236.

GREER, STEPHEN. 2015. ‘Queer Exceptions’. Theatre Research International 40 (01): 92–95. https://doi.org/10.1017/S0307883314000625.

Harvey, Jonathan. 1994a. Beautiful Thing. London: Methuen.

———. 1994b. Beautiful Thing. London: Methuen.

Harvey, Jonathan, and Jonathan Harvey. 2013. ‘Beautiful Thing’. Electronic resource. http://dx.doi.org/10.5040/9781408164549.00000005.

‘Hedwig and the Angry Inch (1999 Script)’. n.d. http://www.rockymusic.org/showdoc/hedwig-play-script.php.

Hellman, Lillian. 1981. The Children’s Hour. New York: Dramatists Play Service.

Henry, Matthew. 2016. ‘A One-Inch Mound of Flesh: Troubling Queer Identity In’. The Journal of American Culture 39 (1): 64–77. https://doi.org/10.1111/jacc.12524.

Hill Collins, Patricia, and Sirma Bilge. 2016. Intersectionality. Cambridge: Polity.

Hooks, Bell. 2000. Feminist Theory: From Margin to Center. 2nd ed. London: Pluto. https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=1811030.

Jess and Joe Forever. n.d. https://doi.org/10.5040/9781350025424.00000002.

John Osborne 1929-. 1957. Look Back in Anger : A Play in Three Acts. Faber and Faber. https://librarysearch.royalholloway.ac.uk/primo-explore/fulldisplay?docid=44ROY_ALMA_DS2130339410002671&context=L&vid=44ROY_VU2&lang=en_US&search_scope=LSCOP_44ROY_NOTJOURNAL&adaptor=Local%20Search%20Engine&isFrbr=true&tab=tab2&query=any,contains,Look%20Back%20in%20Anger%20osborne&sortby=date&facet=frbrgroupid,include,1288097756&offset=0.

Kaufman, Moises, Leigh Fondakowski, and Tectonic Theater Project. 2001. The Laramie Project. New York: Vintage Books.

Kennedy, Dennis. 2010a. The Oxford Companion to Theatre and Performance. Oxford: Oxford University Press.

———. 2010b. The Oxford Companion to Theatre and Performance. Electronic resource. [Oxford]: Oxford University Press. http://www.oxfordreference.com/view/10.1093/acref/9780199574193.001.0001/acref-9780199574193.

———. 2010c. The Oxford Companion to Theatre and Performance. Oxford: Oxford University Press.

———. 2010d. The Oxford Companion to Theatre and Performance. Electronic resource. [Oxford]: Oxford University Press. http://www.oxfordreference.com/view/10.1093/acref/9780199574193.001.0001/acref-9780199574193.

Kramer, Larry. 1993. The Normal Heart. London: Hern.

Kron, Lisa. 2015. Fun Home: Based on the Acclaimed Graphic Novel by Alison Bechdel. Theatre Communications Group.

Kushner, Tony. 1993. Angels in America: A Gay Fantasia on National Themes, Pt. 1: Millenium Approaches. New York: Theatre Communications Group.

———. 1994a. Angels in America: A Gay Fantasia on National Themes, Pt. 2: Perestroika. London: Royal National Theatre.

———. 1994b. Angels in America: A Gay Fantasia on National Themes, Pt. 2: Perestroika. London: Royal National Theatre.

———. 1996. Slavs! Broadway Play Pub.

Kushner, Tony and Royal National Theatre. 1993. Angels in America: A Gay Fantasia on National Themes, Pt. 1: Millenium Approaches. New York: Theatre Communications Group.

Ledebur, Ruth Freifrau von. 1996. ‘Gender Politics and Female Characters in Edward Bond’s Plays’. Contemporary Theatre Review 5 (1–2): 51–61. https://doi.org/10.1080/10486809608568381.

Lenkiewicz, Rebecca. 2008a. Her Naked Skin. Vol. FF plays. London: Faber and Faber.

———. 2008b. Her Naked Skin. Electronic resource. Vol. Faber plays. London: Faber. http://dx.doi.org/10.5040/9780571284962.00000008.

Leondar, Gail, Lois Weaver, Peggy Shaw, Bette Bourne, and Precious Pearl. 1991. ‘Belle Reprieve’. Theatre Journal 43 (3). https://doi.org/10.2307/3207596.

Look Back in Anger. n.d. https://doi.org/10.5040/9780571285990.00000006.

Mamet, David. 2001. Boston Marriage. London: Methuen.

McNally, Terrence. 1992. Lips Together, Teeth Apart. Josef Weinberger Plays.

———. 1998. Corpus Christi: A Play. First edition. New York: Grove Press.

McNicholas Smith, Kate. 2017. ‘Sexualisation, or the Queer Feminist Provocations of Miley Cyrus’. Feminist Theory 18 (3): 281–98. https://doi.org/10.1177/1464700117721880.

Menard, Paul. 2008. ‘The (Fe)Male Gays: Split Britches and the Redressing of Dyke Camp’. In ‘We Will Be Citizens’: New Essays on Gay and Lesbian Theatre, 185–93. Jefferson, N.C.: McFarland & Company.

Mihaylova, Stefka. 2015. ‘The Radical Formalism of Suzan-Lori Parks and Sarah Kane’. Theatre Survey 56 (02): 213–31. https://doi.org/10.1017/S0040557415000083.

Mitchell, Julian. 1982. Another Country. Ambergate: Amber Lane Press.

Munro, Ealasaid. 2013. ‘Feminism: A Fourth Wave?’ Political Insight. https://doi.org/10.1111/2041-9066.12021.

Neaptide. n.d. https://doi.org/10.5040/9781408182758.00000061.

———. n.d. https://doi.org/10.5040/9781408182758.00000061.

Niles, Richard. 2004. ‘Wigs, Laughter, and Subversion’. Journal of Homosexuality 46 (3–4): 35–53. https://doi.org/10.1300/J082v46n03_03.

Orton, Joe. 1967. Loot. London: Methuen.

Orton, Joe, and Andrew Mayne. 2006. ‘Loot’. Electronic resource Methuen student editions. http://dx.doi.org/10.5040/9781408168158.00000032.

Parks, Suzan-Lori. 2002. Fucking A in Red Letter Plays. New York: Theatre Communications Group Inc.,U.S.

Pellegrini, Ann. 1997a. Performance Anxieties: Staging Psychoanalysis, Staging Race. New York: Routledge.

———. 1997b. Performance Anxieties: Staging Psychoanalysis, Staging Race. Electronic book. New York: Routledge. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780203699911.

Pinter, Harold. 1966. The Homecoming. 2nd ed. London: Methuen.

Pramaggiore, Maria T. 1992. ‘Resisting/Performing/Femininity: Words, Flesh, and Feminism in Karen Finley’s “The Constant State of Desire”’. Theatre Journal 44 (3). https://doi.org/10.2307/3208549.

‘Queer Women on Stage: Representation v. Exploitation - Exeunt Magazine’. n.d. http://exeuntmagazine.com/features/queer-women-stage-representation-v-exploitation/.

Rapi, Nina. 1993a. ‘Hide and Seek: The Search for a Lesbian Theatre Aesthetic’. New Theatre Quarterly 9 (34). https://doi.org/10.1017/S0266464X00007739.

———. 1993b. ‘Hide and Seek: The Search for a Lesbian Theatre Aesthetic’. New Theatre Quarterly 9 (34). https://doi.org/10.1017/S0266464X00007739.

‘Review: Everybody’s Talking About Jamie at the Apollo Theatre - Exeunt Magazine’. n.d. http://exeuntmagazine.com/reviews/review-everybodys-talking-jamie-apollo-theatre/.

Roberts, Brian. 2000. ‘Whatever Happened to Gay Theatre?’ New Theatre Quarterly 16 (02). https://doi.org/10.1017/S0266464X00013695.

Sandell, Jillian. 2016. ‘Hedwig Revisited’. Gender, Place & Culture 23 (7): 1071–76. https://doi.org/10.1080/0966369X.2015.1073700.

Savran, David. 1995. ‘Ambivalence, Utopia, and a Queer Sort of Materialism: How “Angels in America” Reconstructs the Nation’. Theatre Journal 47 (2). https://doi.org/10.2307/3208484.

Schneider, Rebecca. 1997a. The Explicit Body in Performance. London: Routledge.

———. 1997b. The Explicit Body in Performance. 1st ed. London: Taylor and Francis. http://ebookcentral.proquest.com/lib/rhul/detail.action?docID=170366.

———. 1997c. The Explicit Body in Performance. London: Routledge.

———. 1997d. The Explicit Body in Performance. 1st ed. London: Taylor and Francis. http://ebookcentral.proquest.com/lib/rhul/detail.action?docID=170366.

Senelick, Laurence. 2002. ‘The Queer Root of Theater’. In The Queerest Art: Essays on Lesbian and Gay Theater, Sexual cultures:21–39. New York: New York University Press.

Sherman, Martin. 2004. Plays 1. London: Methuen.

———. 2013. ‘Bent’. http://dx.doi.org/10.5040/9781408168899.00000014.

Sisley, Emily L. 1981a. ‘Notes on Lesbian Theatre’. The Drama Review: TDR 25 (1). https://doi.org/10.2307/1145343.

———. 1981b. ‘Notes on Lesbian Theatre’. The Drama Review: TDR 25 (1). https://doi.org/10.2307/1145343.

Solomon, Alisa. 2002. ‘Great Sparkles of Lust: Homophobia and the Antithetical Tradition’. In The Queerest Art: Essays on Lesbian and Gay Theater, Sexual cultures:9–20. New York: New York University Press.

Solomon, Alisa, and Framji Minwalla. 2002a. The Queerest Art: Essays on Lesbian and Gay Theater. New York: New York University Press.

———. 2002b. The Queerest Art: Essays on Lesbian and Gay Theater. New York: New York University Press.

Son, Diana. 2000. Stop Kiss. Dramatists Play Service.

Sprinkle, Annie. 2001. Hardcore From the Heart: The Pleasures, Profits and Politics of Creative Sexual Expression - Annie Sprinkle Solo. Continuum International Publishing Group Ltd.

‘The Dispute Between Radical Feminism and Transgenderism | The New Yorker’. n.d. https://www.newyorker.com/magazine/2014/08/04/woman-2.

The Homecoming. n.d. https://doi.org/10.5040/9780571291786.00000005.

‘Tony Kushner’s Angels in America: Histories, Futures, and Queer Lives’. n.d. http://jadtjournal.org/2014/11/17/tony-kushners-angels-in-america-histories-futures-and-queer-lives/.

Wade, Laura, and Sarah Waters. 2015. Tipping the Velvet: Based on the Book by Sarah Waters. Vol. Oberon modern plays. London: Oberon Books.

West, Mae. 1997. Sex, The Drag, The Pleasure Man. Nick Hern Books.

Wilson, Lanford. 1973. The Hot L Baltimore: A Play. New York: Noonday.

———. 1988. Balm in Gilead: And Other Plays. New York: Noonday.

Wyllie, Andrew. 2009a. Sex on Stage: Gender and Sexuality in Post-War British Theatre. Bristol: Intellect.

———. 2009b. Sex on Stage: Gender and Sexuality in Post-War British Theatre. Electronic book. Bristol: Intellect. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=435036.

———. 2009c. Sex on Stage: Gender and Sexuality in Post-War British Theatre. Bristol: Intellect.

———. 2009d. Sex on Stage: Gender and Sexuality in Post-War British Theatre. Electronic resource. Bristol: Intellect. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=435036.

———. 2009e. Sex on Stage: Gender and Sexuality in Post-War British Theatre. Bristol: Intellect.

———. 2009f. Sex on Stage: Gender and Sexuality in Post-War British Theatre. Electronic resource. Bristol: Intellect. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=435036.