| Titre : |
Drag shows : marketized cultural products or artistic lgbtqia+ performabces belonging to subcultures ? |
| Type de document : |
Mémoire |
| Auteurs : |
Mathilde PIERRE, Auteur |
| Année de publication : |
2023 |
| Importance : |
26 p. |
| Note générale : |
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| Langues : |
Anglais (eng) |
| Mots-clés : |
Management
INDUSTRIE CULTURELLE SECTEUR ; SPECTACLE ; STANDARDISATION
|
| Résumé : |
The origins of drag shows are unclear, but they've been around since ancient times: even in ancient times, theater was sacred, and for social and religious reasons, men played female roles - the ancestor of drag shows. Today's drag tradition dates back to the 19th century, with "female impersonators" performed in music halls and then exported to queer bars. The 20th century, thanks to the counterculture movements of the 1960s, enabled the drag movement to assert itself and become
more politicized: drag shows became rooted in queer activism. Then, RuPaul Drag Races marked a new turning point in the 2000s, spreading the movement worldwide and popularizing it. But if drag shows have become a mainstream and popular phenomenon, what remains of their activist DNA? What is a drag show today? This dissertation explores the effects of the popularization of the RuPaul phenomenon on all forms of drag shows today: the impact on the audience, the practices and characteristics of a drag show, and the militant and political discourse. From Madame Arthur's cabarets to the ballrooms of the Gaîté Lyrique, RuPaul Drag Race's drag shows impose an aesthetic that limits the essence of drag shows. However, there is still a drag culture, both artistic and militant, that manages to break free from the standardization of drag shows imposed by the popular drag races. |
| Programme : |
MSc Cultural & Creative Industries |
| Permalink : |
https://cataloguelibrary.neoma-bs.fr/index.php?lvl=notice_display&id=581682 |
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Drag shows : marketized cultural products or artistic lgbtqia+ performabces belonging to subcultures ? / 2023 
