Queer Hope in Working-Class Performance: Scottee’s Bravado and Class
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Amy Terry
(they/she/he) is a working-class theatre-maker and a PhD candidate at Royal Holloway, University of London. Their research focuses on queer and trans* solo performance and working-class representation. She has performed her work at Camden’s People Theatre, RADA, and Tate & Lyle Working Men’s Club, and he is currently under commission from Farnham Maltings Arts Centre to create a travelling honky-tonk for regional and rural communities.
Abstract
In contemporary Britain, the working-class subject is often portrayed as abject, deficient, and undeserving. In this article, I survey how mainstream theatre has often been complicit in replicating and authenticating these representations of the working class without offering an alternative. I argue that queer performance forms are a way of altering and undermining this narrative of working classness as a deficit. The queer working-class subject is defined by a sense of not fitting in to either the queer or working-class community and is therefore in a unique position to challenge a unifying representation of the working class. In particular, the queer aesthetics identified in José Esteban Muñoz’s notion of utopian performance and the dialectic of hope and disappointment offers both a critique of the present and a look to the future beyond the inevitability of capitalism and heteronormativity. I analyse Scottee’s solo autobiographical performances Bravado (2017) and Class (2019) through the lens of utopia and hope and how the performer’s status as a queer and working-class artist allows him to offer alternatives to the here and now.
About the author
(they/she/he) is a working-class theatre-maker and a PhD candidate at Royal Holloway, University of London. Their research focuses on queer and trans* solo performance and working-class representation. She has performed her work at Camden’s People Theatre, RADA, and Tate & Lyle Working Men’s Club, and he is currently under commission from Farnham Maltings Arts Centre to create a travelling honky-tonk for regional and rural communities.
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© 2024 Walter de Gruyter GmbH, Berlin/Boston
Articles in the same Issue
- Frontmatter
- Frontmatter
- Preliminary Note
- Acknowledgements
- Articles
- Introduction: Theater and Community. Poetics, Politics, Performances
- Sensing a Twenty-First-Century Commons in the Theater: Relationality in a Climate of Distrust and Destruction
- The Inoperative Community in Twenty-First-Century British Theatre
- The Poetics and Politics of We-Narration on the Contemporary British Stage
- “You Are Alone”: Singularity, Community, and the Possibility of Solidarity in Slavoj Žižek’s The Three Lives of Antigone
- Community and Manipulation in the “Parallel Worlds” of Tim Crouch
- Dissensual Performances of Race and Community in Claudia Rankine’s The White Card and Jackie Sibblies Drury’s Fairview
- Staging the Theatrical Public Sphere in The Laramie Project
- Mary Kathryn Nagle in Conversation with Nina De Bettin Padolin and Ilka Saal
- The Politics of Queer Be-longing and Acts of Hope in Peter McMaster’s Solo Performance A Sea of Troubles and Split Britches’ “Zoomie” Last Gasp (WFH)
- Queer Hope in Working-Class Performance: Scottee’s Bravado and Class
- “Be Yo’self. It’s Just a Show”: Performing Community through the Comic Grotesque in Branden Jacobs-Jenkins’s Neighbors
- Identity Politics as Lingua Franca?
- Reviews
- Avra Sidiropoulou, ed. Staging 21st Century Tragedies: Theatre, Politics, and Global Crisis. New York: Routledge, 2022, 276 pp., £130.00 (hardback), £35.99 (paperback), £32.39 (ebook).
- Michael Meeuwis. Property and Finance on the Post-Brexit London Stage: We Want What You Have. Abingdon: Routledge, 2021, vi + 144 pp., £130.00 (hardback), £38.99 (paperback), £35.09 (ebook).
- Nicola Abram. Black British Women’s Theatre: Intersectionality, Archives, Aesthetics. Palgrave Macmillan, 2020, xiii + 224 pp., $109.99 (hardback), $109.99 (softcover), $84.99 (ebook).
Articles in the same Issue
- Frontmatter
- Frontmatter
- Preliminary Note
- Acknowledgements
- Articles
- Introduction: Theater and Community. Poetics, Politics, Performances
- Sensing a Twenty-First-Century Commons in the Theater: Relationality in a Climate of Distrust and Destruction
- The Inoperative Community in Twenty-First-Century British Theatre
- The Poetics and Politics of We-Narration on the Contemporary British Stage
- “You Are Alone”: Singularity, Community, and the Possibility of Solidarity in Slavoj Žižek’s The Three Lives of Antigone
- Community and Manipulation in the “Parallel Worlds” of Tim Crouch
- Dissensual Performances of Race and Community in Claudia Rankine’s The White Card and Jackie Sibblies Drury’s Fairview
- Staging the Theatrical Public Sphere in The Laramie Project
- Mary Kathryn Nagle in Conversation with Nina De Bettin Padolin and Ilka Saal
- The Politics of Queer Be-longing and Acts of Hope in Peter McMaster’s Solo Performance A Sea of Troubles and Split Britches’ “Zoomie” Last Gasp (WFH)
- Queer Hope in Working-Class Performance: Scottee’s Bravado and Class
- “Be Yo’self. It’s Just a Show”: Performing Community through the Comic Grotesque in Branden Jacobs-Jenkins’s Neighbors
- Identity Politics as Lingua Franca?
- Reviews
- Avra Sidiropoulou, ed. Staging 21st Century Tragedies: Theatre, Politics, and Global Crisis. New York: Routledge, 2022, 276 pp., £130.00 (hardback), £35.99 (paperback), £32.39 (ebook).
- Michael Meeuwis. Property and Finance on the Post-Brexit London Stage: We Want What You Have. Abingdon: Routledge, 2021, vi + 144 pp., £130.00 (hardback), £38.99 (paperback), £35.09 (ebook).
- Nicola Abram. Black British Women’s Theatre: Intersectionality, Archives, Aesthetics. Palgrave Macmillan, 2020, xiii + 224 pp., $109.99 (hardback), $109.99 (softcover), $84.99 (ebook).
