Other Companies We Stan
Reading/Viewing List
Aitkenhead, Decca. “RuPaul: 'Drag Is a Big f-You to Male-Dominated Culture'.” The Guardian, Guardian News and Media, 3 Mar. 2018.
Bailey, Marlon M. “Gender/Racial Realness: Theorizing the Gender System in Ballroom Culture.” Feminist Studies, no. 2, 2011, p. 365. EBSCOhost.
Baker, Roger. Drag: a History of Female Impersonation in the Performing Arts. New York University Press, 1994.
Barker, Meg-John and Scheele, Julia. Queer: A Graphic History. London: Icon Books, 2016.
Boal, Augusto. Theatre of the Oppressed. New York: Theatre Communications Group, 1985. Print.
Bornstein, Kate. Gender Outlaw: On Men, Women, and the Rest of Us. New York: Routledge, 1994. Print.
Carmel, Tamar, Ruben Hopwood, and lore m. dickey. "Mental Health Concerns." Trans Bodies, Trans Selves: A Resource for the Transgender
Community. By Laura Erickson-Schroth. Oxford: Oxford UP, USA, 2014. 305-27. Print.
Edelman, Lee. No Future: Queer Theory and the Death Drive. Durham: Duke University Press, 2004. Print.
Edgecomb, Sean F. “Queer Kinesis: Performance, Invocation, Transformation.” Queer Dramaturgies: International Perspectives on Where
Performance Leads Queer, by Alyson Campbell and Stephen Farrier, Palgrave Macmillan, 2016, pp. 330–345.
Erickson-Schroth, Laura. Trans Bodies, Trans Selves: A Resource for the Transgender Community. Oxford: Oxford UP, USA, 2014. Print.
Farrier, Stephen. “That Lip-Synching Feeling: Drag Performance as Digging the Past.” Queer Dramaturgies: International Perspectives on Where
Performance Leads Queer by Alyson Campbell and Stephen Farrier, Palgrave Macmillan, 2016, pp. 192-209.
Goodman, Rachel. “What Is Camp?” them., 4 Apr. 2019. them.us/story/what-is-camp.
Halberstam, Jack. Gaga Feminism: Sex, Gender, and the End of Normal. Boston: Beacon Press, 2012.
Halberstam, Jack. In a Queer Time and Place: Transgender Bodies, Subcultural Lives. New York: New York University Press, 2005. Print.
Halberstam, Jack. "Trans* - Gender Transitivity and New Configurations of Body, History, Memory and Kinship." Parallax 22.3 (2016): 366-75. Web.
Jones, Angela. “Introduction: Queer Utopias, Queer Futurity, and Potentiality in Quotidian Practice.” In A Critical Inquiry into Queer Utopias, edited
by Angela Jones, 1-17. New York: Palgrave Macmillan, 2013.
Katie R. Horowitz. “The Trouble with ‘Queerness’: Drag and the Making of Two Cultures.” Signs, no. 2, 2013, p. 303. EBSCOhost, doi:10.1086/667199.
Knutson, Douglas Ray. “Gender Dysphoria, Depression, and Performance Involvement among Gay and Bisexual Male Drag Queens.” Dissertation
Abstracts International: Section B: The Sciences and Engineering, vol. 79, no. 9–B(E), ProQuest Information & Learning, 2018. EBSCOhost.
Langley, Carol. “Borrowed Voice: The Art of Lip-Synching in Sydney Drag.” In Australasian Drama Studies: Apr. 2006; Performing Arts Periodicals
Database, 5-17.
Lecoq, Jacques. The moving body: teaching creative theatre. Translated by David Bradby. New York: Routledge, 2002.
LeMaster, Benny. “Discontents of Being and Becoming Fabulous on RuPaul’s Drag U: Queer Criticism in Neoliberal Times.” Women’s Studies in
Communication, vol. 2, no. 2, 2015, pp. 167–186. EBSCOhost.
Levitt, Heidi M., et al. “Drag Gender: Experiences of Gender for Gay and Queer Men Who Perform Drag.” Sex Roles: A Journal of Research, no. 5–6,
2018, p. 367. EBSCOhost, doi:10.1007/s11199-017-0802-7.
Lorde, Audre. “The Master’s Tools Will Never Dismantle the Master’s House.” In Sister Outsider: Essays and Speeches, 110-114. Berkeley, CA: Crossing
Press.
Mann, Stephen L. “Drag Queens’ Use of Language and the Performance of Blurred Gendered and Racial Identities.” Journal of Homosexuality, vol.
58, no. 6/7, July 2011, pp. 793–811. EBSCOhost, doi:10.1080/00918369.2011.581923.
Moore, Indya (@IndyaMoore). “If a woman has a penis, her penis is a biologically female penis.” 17 Feb. 2019, 7:01pm. Tweet.
Muñoz, José Esteban. Cruising Utopia: The Then and There of Queer Futurity. New York: NYU Press, 2009.
Nichols, James Michael. “RuPaul Comes Under Fire for Comments About Openly Trans Contestants on ‘Drag Race.’” Huffington Post, 5 Mar. 2018.
huffpost.com/entry/rupaul-openly-trans-drag-race_n_5a9da482e4b0479c02560331/
Oddey, Alison. Devising Theatre: A Practical and Theoretical Handbook. New York: Routledge, 1994.
Popat, Sita, et al. “Bodily Extensions and Performance.” International Journal of Performance Arts and Digital Media, vol. 13, no. 2, 2017, pp. 101–104.
Prendergast, Monica, and Juliana Saxton. Applied Drama: a Facilitator's Handbook for Working in Community. Intellect, 2013. Print.
Probyn, Elspeth. Outside Belongings. New York: Routledge, 1996. Print.
Prosser, Jay. Second Skins : The Body Narratives of Transsexuality. New York: Columbia University Press, 1998. Print.
Reznek, Jennie. “Magnet Theatre and the Moving Body.” In Magnet Theatre: Three Decades of Making Space, edited by Megan Lewis and Anton Krueger, 143-162. Bristol, UK: Intellect Ltd., 2016.
Riszko, Leila. “Breaching Bodily Boundaries: Posthuman (Dis)Embodiment and Ecstatic Speech in Lip-Synch Performances by Boychild.”
International Journal of Performance Arts and Digital Media, vol. 13, no. 2, 2017, pp. 153–169., doi:10.1080/14794713.2017.1348094.
Salamon, Gayle. Assuming a Body: Transgender and Rhetorics of Materiality. New York: Columbia University Press, 2010. Print.
Sanoff, Rachel. “Sasha Velour Explains How Drag's Optimism Can Change the Future.” HelloGiggles, 14 Dec. 2018, hellogiggles.com/reviews-
coverage/sasha-velour-interview-drag-change-future/
Schewe, Elizabeth. “Serious Play: Drag, Transgender, and the Relationship between Performance and Identity in the Life Writing of RuPaul and Kate
Bornstein.” Biography: An Interdisciplinary Quarterly, vol. 4, no. 4, 2009, pp. 670–695. EBSCOhost.
Sorensen, Thorin. “The Goddex.” Polyamorous Paganism, 1 Oct. 2013. http://thorandthoth.blogspot.com/2013/10/the-goddex.html
Street, Mikelle. “Why ‘Drag Race’ Alum Aja is No Longer Using the Term ‘Drag Queen’” them., 3 Jul. 2018. them.us/story/aja-queer-performance.
Thunderfuck, Alaska. “Foreword.” In Alright Darling?: The Contemporary Drag Scene, compiled by Greg Bailey, 4-5. London: Laurence King
Publishing Ltd., 2018.
Bailey, Marlon M. “Gender/Racial Realness: Theorizing the Gender System in Ballroom Culture.” Feminist Studies, no. 2, 2011, p. 365. EBSCOhost.
Baker, Roger. Drag: a History of Female Impersonation in the Performing Arts. New York University Press, 1994.
Barker, Meg-John and Scheele, Julia. Queer: A Graphic History. London: Icon Books, 2016.
Boal, Augusto. Theatre of the Oppressed. New York: Theatre Communications Group, 1985. Print.
Bornstein, Kate. Gender Outlaw: On Men, Women, and the Rest of Us. New York: Routledge, 1994. Print.
Carmel, Tamar, Ruben Hopwood, and lore m. dickey. "Mental Health Concerns." Trans Bodies, Trans Selves: A Resource for the Transgender
Community. By Laura Erickson-Schroth. Oxford: Oxford UP, USA, 2014. 305-27. Print.
Edelman, Lee. No Future: Queer Theory and the Death Drive. Durham: Duke University Press, 2004. Print.
Edgecomb, Sean F. “Queer Kinesis: Performance, Invocation, Transformation.” Queer Dramaturgies: International Perspectives on Where
Performance Leads Queer, by Alyson Campbell and Stephen Farrier, Palgrave Macmillan, 2016, pp. 330–345.
Erickson-Schroth, Laura. Trans Bodies, Trans Selves: A Resource for the Transgender Community. Oxford: Oxford UP, USA, 2014. Print.
Farrier, Stephen. “That Lip-Synching Feeling: Drag Performance as Digging the Past.” Queer Dramaturgies: International Perspectives on Where
Performance Leads Queer by Alyson Campbell and Stephen Farrier, Palgrave Macmillan, 2016, pp. 192-209.
Goodman, Rachel. “What Is Camp?” them., 4 Apr. 2019. them.us/story/what-is-camp.
Halberstam, Jack. Gaga Feminism: Sex, Gender, and the End of Normal. Boston: Beacon Press, 2012.
Halberstam, Jack. In a Queer Time and Place: Transgender Bodies, Subcultural Lives. New York: New York University Press, 2005. Print.
Halberstam, Jack. "Trans* - Gender Transitivity and New Configurations of Body, History, Memory and Kinship." Parallax 22.3 (2016): 366-75. Web.
Jones, Angela. “Introduction: Queer Utopias, Queer Futurity, and Potentiality in Quotidian Practice.” In A Critical Inquiry into Queer Utopias, edited
by Angela Jones, 1-17. New York: Palgrave Macmillan, 2013.
Katie R. Horowitz. “The Trouble with ‘Queerness’: Drag and the Making of Two Cultures.” Signs, no. 2, 2013, p. 303. EBSCOhost, doi:10.1086/667199.
Knutson, Douglas Ray. “Gender Dysphoria, Depression, and Performance Involvement among Gay and Bisexual Male Drag Queens.” Dissertation
Abstracts International: Section B: The Sciences and Engineering, vol. 79, no. 9–B(E), ProQuest Information & Learning, 2018. EBSCOhost.
Langley, Carol. “Borrowed Voice: The Art of Lip-Synching in Sydney Drag.” In Australasian Drama Studies: Apr. 2006; Performing Arts Periodicals
Database, 5-17.
Lecoq, Jacques. The moving body: teaching creative theatre. Translated by David Bradby. New York: Routledge, 2002.
LeMaster, Benny. “Discontents of Being and Becoming Fabulous on RuPaul’s Drag U: Queer Criticism in Neoliberal Times.” Women’s Studies in
Communication, vol. 2, no. 2, 2015, pp. 167–186. EBSCOhost.
Levitt, Heidi M., et al. “Drag Gender: Experiences of Gender for Gay and Queer Men Who Perform Drag.” Sex Roles: A Journal of Research, no. 5–6,
2018, p. 367. EBSCOhost, doi:10.1007/s11199-017-0802-7.
Lorde, Audre. “The Master’s Tools Will Never Dismantle the Master’s House.” In Sister Outsider: Essays and Speeches, 110-114. Berkeley, CA: Crossing
Press.
Mann, Stephen L. “Drag Queens’ Use of Language and the Performance of Blurred Gendered and Racial Identities.” Journal of Homosexuality, vol.
58, no. 6/7, July 2011, pp. 793–811. EBSCOhost, doi:10.1080/00918369.2011.581923.
Moore, Indya (@IndyaMoore). “If a woman has a penis, her penis is a biologically female penis.” 17 Feb. 2019, 7:01pm. Tweet.
Muñoz, José Esteban. Cruising Utopia: The Then and There of Queer Futurity. New York: NYU Press, 2009.
Nichols, James Michael. “RuPaul Comes Under Fire for Comments About Openly Trans Contestants on ‘Drag Race.’” Huffington Post, 5 Mar. 2018.
huffpost.com/entry/rupaul-openly-trans-drag-race_n_5a9da482e4b0479c02560331/
Oddey, Alison. Devising Theatre: A Practical and Theoretical Handbook. New York: Routledge, 1994.
Popat, Sita, et al. “Bodily Extensions and Performance.” International Journal of Performance Arts and Digital Media, vol. 13, no. 2, 2017, pp. 101–104.
Prendergast, Monica, and Juliana Saxton. Applied Drama: a Facilitator's Handbook for Working in Community. Intellect, 2013. Print.
Probyn, Elspeth. Outside Belongings. New York: Routledge, 1996. Print.
Prosser, Jay. Second Skins : The Body Narratives of Transsexuality. New York: Columbia University Press, 1998. Print.
Reznek, Jennie. “Magnet Theatre and the Moving Body.” In Magnet Theatre: Three Decades of Making Space, edited by Megan Lewis and Anton Krueger, 143-162. Bristol, UK: Intellect Ltd., 2016.
Riszko, Leila. “Breaching Bodily Boundaries: Posthuman (Dis)Embodiment and Ecstatic Speech in Lip-Synch Performances by Boychild.”
International Journal of Performance Arts and Digital Media, vol. 13, no. 2, 2017, pp. 153–169., doi:10.1080/14794713.2017.1348094.
Salamon, Gayle. Assuming a Body: Transgender and Rhetorics of Materiality. New York: Columbia University Press, 2010. Print.
Sanoff, Rachel. “Sasha Velour Explains How Drag's Optimism Can Change the Future.” HelloGiggles, 14 Dec. 2018, hellogiggles.com/reviews-
coverage/sasha-velour-interview-drag-change-future/
Schewe, Elizabeth. “Serious Play: Drag, Transgender, and the Relationship between Performance and Identity in the Life Writing of RuPaul and Kate
Bornstein.” Biography: An Interdisciplinary Quarterly, vol. 4, no. 4, 2009, pp. 670–695. EBSCOhost.
Sorensen, Thorin. “The Goddex.” Polyamorous Paganism, 1 Oct. 2013. http://thorandthoth.blogspot.com/2013/10/the-goddex.html
Street, Mikelle. “Why ‘Drag Race’ Alum Aja is No Longer Using the Term ‘Drag Queen’” them., 3 Jul. 2018. them.us/story/aja-queer-performance.
Thunderfuck, Alaska. “Foreword.” In Alright Darling?: The Contemporary Drag Scene, compiled by Greg Bailey, 4-5. London: Laurence King
Publishing Ltd., 2018.