Protect for September 2018 Reed Magazine. example by ohni lisle
The stage is owned by you. While the NSYNC dance hit Tearin’ Up My Heart reaches its orgasm, spin around and slip forward on your own knees, extending your fingertips to your adoring fans. Take in in their rapturous applause.
The students in this Reed theatre workshop are learning to perform a classic boy-band routine from the 1990s on one level. But for a much much deeper level, they’ve been learning how to perform masculinity itself—or one flavor from it, anyway.
“Performing masculinity means using up area,” describes Max Voltage, a Portland drag master that is leading the pupils through the routine. “We’re taught that femininity is performative, and masculinity is not. But there is however an area that enables for emotions and sensibility in masculinity—for just a brief some time perhaps not for the old—that’s called boy band.”
Portland drag master Max Voltage (center) performs as Peter Pansy when you look at the kid musical organization Turnback Boyz. meaparte.com
Voltage, who works as Peter Pansy when you look at the child musical organization Turnback Boyz, is certainly one of two neighborhood performance designers who’ve been invited to guide a workshop on drag as an element of Theatre 280, Gender and Theatre, taught by Prof. Kate Bredeson theatre 2009–. The program utilizes performance as being a lens by which to review sex and stage that is sexuality—on off—while in addition utilizing gender as being a lens by which to examine theater.
The program has made a reputation on campus as challenging, rigorous, and significant. The syllabus consists of readings in queer concept, performance studies scholarship, plays, video clip tests, workshops, and performance that is end-of-term. As with any classes into the theater division, it combines practice and theory. Continue reading Place your hand to your upper body. Gaze during the market. Achingly. Strut with time using the beat.