Carolyn Gage
  • Home
    • Butch Visibility Project
    • Bio and Vitae
    • Endorsements
    • Production History
    • Catalog of Books and Plays
    • Online Essays >
      • Lesbian Culture and History Essays
      • Theatre Essays
      • Feminist Essays
      • Reviews
    • Interviews >
      • Audio/Video Interviews
      • Print Interviews
  • Books and CD's
    • Gage Play Anthologies
    • Feminist Thought And Spirituality
    • Lesbian Theatre
    • CD's and DVD's
    • Anthologies with Other Authors
    • Journal Anthologies
  • Plays
    • One-Woman Shows >
      • The Second Coming of Joan of Arc
      • La Seconde Venue de Jeanne d'Arc
      • Joana Dark - a re-volta
      • Giovanna d'Arco - la rivolta
      • ВТОРОТО ПРИШЕСТВИЕ НА ЖАНА Д’АРК (Bulgarian tranlsation of The Second Coming of Joan
      • 贞德再临_中文 (Mandarin translation of The Second Coming of Joan of Arc)
      • The Last Reading of Charlotte Cushman
      • Crossing the Rapelands
    • Musicals >
      • The Amazon All-Stars
      • Babe! An Olympian Musical
      • How to Write a Country-Western Song
      • Leading Ladies
      • Women on the Land
    • Full-Length Plays >
      • The Abolition Plays
      • The Anastasia Trials in the Court of Women
      • AXED!
      • Black Star
      • Coming About
      • Esther and Vashti
      • The Goddess Tour
      • In McClintock's Corn
      • Sappho in Love
      • The Spindle
      • Stigmata
      • Thanatron
      • Ugly Ducklings
    • One-Acts >
      • Ain't Got No - I Got Life
      • The A-Mazing Yamashita and the Millennial Gold-Diggers
      • Artemisia and Hildegard
      • Battered on Broadway
      • Bite My Thumb
      • The Boundary Trial of John Proctor
      • Cookin' with Typhoid Mary
      • The Countess and the Lesbians
      • The Drum Lesson
      • Easter Sunday
      • Entr'acte or The Night Eva Le Gallienne Was Raped
      • The Evil That Men Do: The Story of Thalidomide
      • Female Nude Seated
      • The Gage and Mr. Comstock
      • The Greatest Actress Who Ever Lived
      • Harriet Tubman Visits A Therapist
      • Head in the Game
      • Hermeneutic Circlejerk
      • Heterosexuals Anonymous
      • Jane Addams and the Devil Baby
      • A Labor Play
      • Lace Curtain Irish
      • Lighting Martha
      • Little Sister
      • Louisa May Incest
      • Mason-Dixon
      • The Obligatory Scene
      • The P.E. Teacher
      • The Parmachene Belle
      • The Pele Chant
      • Planchette
      • The Poorly-Written Play Festival
      • Radicals
      • The Rules of the Playground
      • St. Frances and the Fallen Angels
      • Souvenirs from Eden
      • Starpattern
      • 'Til the Fat Lady Sings
      • Valerie Solanas At Matteawan
    • Short Short Plays >
      • 52 Pickup
      • At Sea
      • Black Eye
      • El Bobo
      • Brett Hears the Mountain Gods
      • Calamity Jane Sends a Message to Her Daughter
      • The Clarity of Pizza
      • The Great Fire
      • Hrotsvitha's Vision
      • The Intimacy Coordinator
      • The Ladies' Room
      • Miss Le Gallienne Announces the New Season
      • On the Other Hand
      • Patricide
      • The Pickle Play
    • Dramatic Adaptations >
      • Amy Lowell: In Her Own Words
      • Brett Remembers
      • Deep Haven
      • El Bobo (one-act play)
      • El Bobo (short screenplay)
      • Emily & Sue >
        • Touring Production of Emily & Sue >
          • The Creative Team
          • Director's Vision
          • Adaptor's notes
          • Open Me Carefully
      • Georgia and the Butch
      • I Have Come to Show You Death
      • Speak Fully The One Awful Word
      • We Too Are Drifting (Screenplay)
    • Special Index: Plays That Deal with Sexual Violence Against Women and Girls
    • Special Index: Women's History Plays
    • Special Index: Romantic Plays with Happy Endings
  • Touring Work
    • Performances >
      • Lace Curtain Irish
      • Crossing the Rapelands
      • The Parmachene Belle (performance)
      • Calamity Jane Sends a Message to Her Daughter (performance)
      • Gage on Stage
    • Lectures >
      • Lizzie Borden and Lesbian Theatre
      • The Secret Life of Lesbians
      • Paradigms and Paradigm-Shifting
      • When Sex Is Not the Metaphor For Intimacy
      • Meeting the Ghost of Hamlet's Father
      • A Theatrical Journey Through Maine's Lesbian History
      • Tara and Other Lies
      • Teena Brandon's Inconvenient Truth
    • Workshops >
      • The Art of the Dramatic Monologue
      • Acting Lesbian
      • Interrupting Racism: A Workshop
      • Playwriting Techniques for Poets and Fiction Writers
      • Ugly Ducklings Workshop
    • Residencies
    • The Lesbian Tent Revival >
      • Testimonials
      • The Lesbian Tent Revival Radio Hour Podcasts
      • The Lesbian Tent Revival Sermon on Dying Well
      • Sermons for a Lesbian Tent Revival
      • Supplemental Sermons
      • Hotter Than Hell
      • The Synapse Pendant
    • Cauldron & Labrys >
      • A Brief History
      • Upcoming Productions
  • Calendar
    • Productions of Gage's Work and Appearances
  • Contact/Storefront
    • Privacy Policy
  • Blog

A Lesbian Feminist Playwright Confronts Queer Theory

1/31/2016

6 Comments

 
Picture
Queer theory and politic swept through lesbian communities and women’s studies’ departments in the mid-1980’s, dug in during the 1990’s, and appeared to have become entrenched throughout the first decade of the millennium. Recently, however, a rising generation of feminists has begun to challenge this hegemony, specifically seeking the voices of lesbian feminist resistance that have been censored for so long.
 
Much of my work as a playwright is butch-centric and survivor-centric. Queer theory, with its emphasis on trans identities, its enthusiastic embrace of prostitution as empowering, pornography as recreational, and its historic enabling of child sexual abuse, has been dismissive of the work of lesbian feminist writers like myself. Many of my recent plays are focused on confronting queer theory, and specifically the post-modern philosophy that spawned it. Here are some examples:
Picture
The A-Mazing Yamashita the Millennial Gold-diggers
 

This one-act play is staged as a magic show. Yamashita, the female magician, promises us an evening of entertainment, where she will personally escort her audience “through the secret tunnels and nubiferous passageways of a post-colonialist, global economic maze, more hidden than King Solomon’s Tomb, more baffling than the riddle of the Sphinx, and more impenetrable than the Great Pyramid of Khufu.”
 
The play incorporates three stunts traditionally associated with the genre: levitating a woman, sawing a woman in half, and causing a woman to vanish inside a magic cabinet. These become explicit metaphors for the wholesale drugging of a generation of young women, the dissociation (splitting) of women through traumatic sexualization and objectification of our bodies, and the disappearing of millions of girls and women through trafficking. Professor Yessir, lending her authority to the proceedings, illustrates the intellectual idiocy and moral complicity of academic theorists, including Lacan, Foucault, Butler, and Kristeva. This is a harrowing play that shatters the fourth wall with a variety of audience plants.  The finale of the performance relies on an improvised recruitment of the audience to stage a protest strong enough to stop the escalating onstage atrocities.

Picture
Hermeneutic Circlejerk
Subtitled “The Founding of Post-Modern Theory,” this slapstick farce features two clowns, Michel-Henri and Jacques-Pierre. Few people are aware that Foucault and Derrida were pro-pedophilia activists who publicly lobbied the French Parliament to abolish (not just lower, but abolish!) the age-of-consent for children. In my farce, the two clown characters purport to found a school of knowledge with its own secret and self-referential language—a language that will effectively deconstruct everything except itself. The ultimate goal of all this initiation and deconstruction is the decriminalizing of their child rapes.

PictureThat Uppity Theatre Company production.
The Ladies’ Room
 
The Ladies Room enacts the collision of queer theory with radical feminism in the space of six minutes. This short-short play takes place outside a ladies’ room in a shopping mall. A teenage lesbian couple is struggling with the fact that someone has reported the butch for being in a women’s bathroom. The butch is on a rant about gender policing, while her girlfriend argues in support of vigilance about male presence in women’s spaces. During the course of the conflict, the girlfriend’s rape narrative emerges, radically altering the direction of the play.

PictureEast West Theatre production in Shanghai, China for Pride Day
Bite My Thumb
 
In the one-act, Bite My Thumb, the conflict between queer theory and lesbian feminism gets down and dirty with a series of on-stage sword fights. Two “gangs” from rival Off-Off Broadway productions of Romeo and Juliet meet in an alley to rumble, sixteenth-century style. A trans man from a mainstream theatre takes on a lesbian butch from an all-women theatre company, with the two combatants hurling accusations at each other, while the members of their respective companies end up firing them both for sex and gender non-conformity. The play ends with the protagonists’ begrudging acknowledgement of the need to forge an alliance.

Picture
Planchette
 
Planchette is a historical play about two fourteen-year old females in 1879. One of them is gender-conforming and attracted to women, while the other is non-conforming, with deep gender dysphoria. I wanted to explore issues of sexual orientation and gender identity in an era when there was no culture, language, or model for anything except heterosexuality and patriarchal gender representation and roles. In the play, Jude struggles to articulate an identity, settling on a fantastical description of girls who grow up to be men. The stage directions never apply gendered pronouns for Jude, leaving the actors and audience to speculate whether today Jude would be a trans man or a lesbian butch. In addition, both of the characters have survived traumatic events, which inform and complicate their identities.

Picture
 
Head in the Game
 
Head in the Game was inspired by an interview with prostitution survivor and abolitionist Rachel Moran. She gave a very simple analogy to help liberal feminists understand prostitution as abuse. She explained how paying someone money in exchange for their allowing themselves to be slapped in the face does not in any way keep the slap from hurting. She points out that there is harm every time a woman has sex that is unwelcome and unwanted, and the fact that money is exchanged for the act does not alter the fact that it is unwanted. As she says, “Money is not magic.”
 
I took her analogy and ran with it in the play, positing a franchise of “Boxing Girls Gyms,” where men pay money to “box” with “sparring partners”—except that the “sparring partners” (all female) are not allowed to hit back, and in fact, the only person “boxing” is the client. In the play, the batterer attempts to kill the “boxing girl,” who manages to call the police. What we see is the difficulty in naming abuse when the entire nature of the so-called enterprise is paid abuse.

PictureAngelina Moline in the Portland, Maine production.
Little Sister
 

Little Sister was written with the assistance of Chris Courchene, a member of the Fort Alexander First Nation, whose tribal affiliation is with the Plains Ojibway. This is another play that explores historical figures who today might be considered trans men or lesbian butches. In the play a butch-femme couple on a Chiricahua reservation find themselves drawing on the legendary example of a female, Two-Spirit ancestor, Lozen, in order to respond to the needs of their niece, a young incest survivor struggling with intense gender dysphoria.

PictureTristan Rolfe and Elizabeth Freeman in the Portland, Maine production.
Valerie Solanas at Matteawan
 
In this play, I wanted to call out both queer activists and radical feminists for their ignorance of trauma studies.
 
In the play, two radical lesbian feminists are visiting Solanas in the state mental hospital shortly after her shooting Andy Warhol. Enamored with her iconic SCUM Manifesto, they are hoping to recruit her as a spokeswoman for the rising Women’s Liberation Movement. The two activists are shocked and disillusioned to find that Solanas is only interested in performing her play Up Your Ass.
 
Up Your Ass, written in the 1960’s, is actually very post-modern in its reification of patriarchal butch-femme roles and its representation of prostitution as an ennobling act of resistance. Solanas frames her internalized misogyny as empowering, while her visitors frame it as an enemy action. I depict it as a testament of an unrecovered incest survivor, challenging the audience to consider whether trauma literacy might open up common ground between queer theorists and radical feminists.
 
I invite queer-identified artists to engage with this work, to move away from the blanket dismissal of butch identity, and especially to interrogate the lack of feminist archetypes of lesbian survivors in the canon of queer work.


6 Comments
Tuck Contreras
1/31/2016 11:43:32 am

I'm not a word literate person. So forgive me. Gender dysphoria d. I guess that is me. But I have almost never cared about who I am. I'm 72 now and when I was 45 I was studying animal behavior and discovered how fetal development and hormones affect sexual development in fetuses. Very interesting to visualize why one was born the way they are. I was very lucky in that I grew up in a place, Southern California on the beach. I had no friends growing but I did have some good kissing. I always knew who I was. A man in a women's body, always. I am friends on fb, and read your posts. Thanks for being out there. Oh and I'm a stone butch. Tuck

Reply
Dana
2/2/2016 04:34:59 pm

No such thing as a man in a woman's body. You are a woman, because you are a woman's body. If you have an identity, it is a female identity, because you are female. There are about eleventy-billion ways to be female, truly biologically female, and none of them are wrong. None of them, however, involve being born with the capacity or potential to manufacture sperm. "Male" and "female" have got to mean something consistent or it won't stop with discussions of menstruation being silenced, we won't even be able to talk about sexual reproduction anymore.

Reply
Margaret Morrison
2/26/2016 04:20:17 pm

I always enjoy your writing Carolyn and admire your honesty and bravery, even when I don't agree with everything. I also disagree with and have rejected in my writing more recent queer theorists who "disappear" female bodies and lesbian experience.

Reply
Carolyn Gage link
2/26/2016 06:10:24 pm

Thanks, Margaret. I take great exception to the fact that an historic lesbian feminist publication would tackle the subject of the interface between queer theory and lesbian-feminism without any critique of the devastating impact of qt on so much critical social justice work. I know that this journal was possibly at risk of appearing to be an outdated artifact of a bygone era... but the alternative is possibly worse.

Reply
Andrea Celeste Padilla Gutierrez
2/22/2022 09:11:42 pm

This was enlightening.
I will read more of you.
From Dionysus land in Mexico I salute you zoo theathrikon

Reply
Carolyn Gage link
2/22/2022 09:16:34 pm

And I salute you! thanks for your comment.

Reply



Leave a Reply.

    Picture

    Carolyn Gage

    “… Carolyn Gage is one of the best lesbian playwrights in America…”--Lambda Book Report, Los Angeles.

    SUBSCRIBE:
    To subscribe to the blog, scroll down and click on "RSS Feed". To subscribe to my newsletter, click here.

    Categories

    All
    Child Abuse
    Civil Rights
    Incest
    In Memoriam
    Interviews
    Lesbian Feminism
    Lesbian History
    Psychotropic Drugs
    Rape
    Reviews
    The Environment
    Women And Theatre
    Women's History

    Archives

    September 2023
    July 2023
    June 2023
    April 2023
    March 2023
    February 2023
    June 2022
    August 2021
    July 2021
    June 2021
    May 2021
    January 2021
    December 2020
    November 2020
    July 2020
    March 2020
    February 2020
    January 2020
    December 2019
    October 2019
    July 2019
    May 2019
    February 2019
    January 2019
    November 2018
    September 2018
    June 2018
    March 2018
    February 2018
    December 2017
    November 2017
    June 2017
    May 2017
    February 2017
    December 2016
    October 2016
    July 2016
    June 2016
    April 2016
    February 2016
    January 2016
    December 2015
    November 2015
    October 2015
    September 2015
    July 2015
    June 2015
    May 2015
    February 2015
    January 2015
    December 2014
    November 2014
    October 2014
    August 2014
    July 2014
    June 2014
    May 2014
    April 2014
    March 2014
    February 2014
    December 2013
    October 2013
    September 2013
    July 2013
    March 2013
    February 2013
    January 2013
    December 2012
    November 2012
    August 2012
    June 2012
    May 2012
    April 2012
    December 2011
    November 2011
    October 2011
    September 2011
    June 2011
    May 2011
    April 2011
    January 2011
    December 2010
    October 2010
    July 2010
    June 2010

    RSS Feed

Powered by Create your own unique website with customizable templates.