Protect for 2018 Reed Magazine september. illustration by ohni lisle
The stage is owned by you. Since the NSYNC party hit Tearin’ Up My Heart reaches its orgasm, spin around and slip ahead on your own knees, extending your fingertips towards your adoring fans. Take in inside 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 much deeper degree, these are typically learning how to perform masculinity itself—or one taste from it, anyhow.
“Performing masculinity means taking on 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 isn’t. But there have a glance at the website is however a place that enables for emotions and sensibility in masculinity—for just a time that is short maybe maybe maybe not for the old—that’s called boy musical organization.”
Portland drag master Max Voltage (center) executes as Peter Pansy into the child musical organization Turnback Boyz. meaparte.com
Voltage, who carries out as Peter Pansy within the kid musical organization Turnback Boyz, is regarded as two performance that is local who’ve been invited to lead a workshop on drag as part 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 at precisely the same time making use of gender being a lens by which to examine theater.
The program has received a reputation on campus as challenging, rigorous, and significant. Continue Reading