Gay and Lesbian Theater

Gay and Lesbian Theater Gay and Lesbian themes were introduced into the dramaturgy before the 1960s. Long before homosexual characters were seen in the Statesn maneuvers on a regular basis, there were isolated incidents when a frolicsome or lesbian appe ard in the plot they were c eached freaks when doing so. Many great deal were a lot offended by homosexuality. Cross dressing was used in performances that raised concerns slightly sexual and gender roles work force dressed in drag and women wore men clothing. Festivals were used to educate and entertain audiences.The theater festival was introduced to spread cognizance 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 feign forward is furiously examined by Gays and Lesbians, kindred for the various performanc es of straight Vivienne Laxdal s Karla and Grif. Many gays and lesbians found it offensive for its stereotypical lesbian characters and others found it snappy for its depiction of the fluidity of sexuality.Other works such as The Boys in the skirt has been successful at bringing out this sexuality. In 1980 a play as such was proven to be enjoyable and considered a crude kind of play. Dealing with issues of gays is being expressed to a greater extent often. In plastered 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 its 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 differ that the theater world is friendly toward a variety of nonconformist than virtually affairal fields. S ame-sex love has been associated with acting for over 2000 years in the west during Roman times. It has been said that these grammatical cases of relationships are accepted in this type of profession because its considered the least respectful environment. Viewers are less presumable to accept same-sex lovers than the company who hires them.The text stated that gay, lesbian, and bisexual actors support the rummy Theory considers the performative nature of gender the idea that gender identity is very nothing more than a role actor learns to do whats 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 iterate lives in the theater wasnt 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 tighten lives.The text stated that 29 percent of Americans would be less fire 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 didnt demand 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 Ive viewed a play with men dressed in drag as considerably as men dating women in a play.Their acting skills are just the same. Who or how they choose to live their personal lives doesnt need their acting skills. Some viewers still dont check with it along with critic but its 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. encyc lopedia. com. . Hudson, Steve Hogan and Lee. Completely Queer The Gay and Lesbian Encyclopedia. Markham Henry Holt and follow Inc. , 1998. Wilson, Edwin. The Theatre Experience. 11th. New York McGraw-Hill, 2009.