By David Savran
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Extra resources for A queer sort of materialism : recontextualizing American theater
Brantley's orientalist metaphor-shades of Bali Ha'i? "' In his fantasy, an implicitly male government subsidies offered the prestigious state theaters (the source of theatergoer demands to be serviced by a commercialized, prostitutional most of the British imports on Broadway). " These differences payer-funded support for any of the arts. Combined government fund ensure that British drama is able to work "on all sorts of levels" and that ing (federal, state, and city) for nonprofit theaters in the United States British writers will produce universal works of art.
The very plea for tolerance advanced by Mart Crowley's The Boys in the Band depends on the construction of the gay male as a deviant subject who should be embraced by an expansive lib �ral pluralism on condition that he lock his perversions away and min imally disrupt the sequestration of private from public. In relation to this tradition, the greatest and most radical contribution of the queer theater of the 1 990s (and in particular of Angels in America and Love! Valour! ) has been its reconstruction of the gay man as a p 66 A Queer Sort ofMaterialism universal subject.
Has been its reconstruction of the gay man as a p 66 A Queer Sort ofMaterialism universal subject. In these texts, homosexual subjectivities are produced as representative not of the perverse but the normative, not of the sub versive but the national. S. political culture. But it is also dramatized in a running gag in Love! Val our! Compassion! "20 At the same time, however, even these universalizing projects must be recognized as producing a counterfeit universal insofar as the "homosexual" in these texts remains a white, male, middle-class subject whose racialized identity is clearly foregrounded by the presence of Belize and Ramon, each of whom rep resents an idealized fantasy: perfectly radical politics and perfectly fuck able body, respectively.