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The Unrepresentable Takes the Stage: Bisexual Legibility and Theatrical Monosexism in Contemporary English-Language Drama

  • Charlie Peters

    (ze/hir/hirs) is an independent scholar, theatre artist, poet, and clown based on Treaty 6 Territory, Homeland of the Métis. Ze holds an MFA in Theatre Practice and an MA in Gender and Social Justice Studies from the University of Alberta, a BFA in Acting from the University of Saskatchewan, and trained extensively at the Manitoulin Conservatory for Creation and Performance. Hir scholarly work has been published in Theatre Research in Canada, Canadian Theatre Review, The Canadian Theatre Encyclopedia, Comedy Studies, Dramaturgy and History: Staging the Archive, and on HowlRound.

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Published/Copyright: October 1, 2024

Abstract

This article brings contemporary theatre studies into dialogue with the growing range of bisexual scholarship across disciplines. This scholarship argues, among other things, that bisexuality must be understood not as a blend of hetero- and homosexualities, but rather as a unique experience that is subject, at various times, both to homophobia and to another form of discrimination: monosexism. I argue that bisexual erasure, discrimination, and oppression – monosexism – in theatre reinforces and is reinforced by bisexual erasure in the broader culture. Building on the work of Judith Butler, Jill Dolan, Sam See, and others, I suggest that greater awareness of bisexuality in theatre studies might play a part in destigmatizing bisexuality and making offstage bisexual lives more legible and more liveable. The article goes on to analyze representations of bisexuality in three contemporary English-language plays: Stop Kiss (2000) by American playwright Diana Son, Cock (2009) by British playwright Mike Bartlett, and Smoke (2022) by Canadian playwright Elena Belyea.

About the author

Charlie Peters

(ze/hir/hirs) is an independent scholar, theatre artist, poet, and clown based on Treaty 6 Territory, Homeland of the Métis. Ze holds an MFA in Theatre Practice and an MA in Gender and Social Justice Studies from the University of Alberta, a BFA in Acting from the University of Saskatchewan, and trained extensively at the Manitoulin Conservatory for Creation and Performance. Hir scholarly work has been published in Theatre Research in Canada, Canadian Theatre Review, The Canadian Theatre Encyclopedia, Comedy Studies, Dramaturgy and History: Staging the Archive, and on HowlRound.

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Published Online: 2024-10-01
Published in Print: 2024-09-30

© 2024 Walter de Gruyter GmbH, Berlin/Boston

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  1. Frontmatter
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  3. Theatrical Plausibility in the Drama of Migration
  4. New Community Design to the Rescue: The Promises and Pitfalls of Post-Pandemic VR Theatre in North America
  5. Towards a History of COVID-Era Theatre: Philip Ridley’s The Beast Will Rise
  6. Contested Heterotopias: Translation Technologies in Post-Devolution Welsh-Language Drama
  7. Productive Transfers: Scottish, Welsh, and Northern Irish Drama Across Borders
  8. The Unrepresentable Takes the Stage: Bisexual Legibility and Theatrical Monosexism in Contemporary English-Language Drama
  9. A Journey towards Womanist Agency in debbie tucker green’s trade
  10. Seda Ilter. Mediatized Dramaturgy: The Evolution of Plays in the Media Age. London: Bloomsbury Methuen, 2021, ix + 221 pp., £85.50 (hardback), £26.09 (paperback), £20.87 (Epub, PDF).
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  12. William C. Boles, ed. Theater in a Post-Truth World: Text, Politics, and Performance. London: Methuen Drama Bloomsbury, 2022, x + 224 pp., £81.00 (hardback), £26.09 (paperback), £20.87 (Epub, Mobi, PDF).
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