By David Savran
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Extra info for A queer sort of materialism : recontextualizing American theater
Yet intriguingly, this counterfeit universalism also guarantees that this queered national identity will have a certain global purchase. For Angels in America and Love! Valour! Compassion! S. 21 In a world increasingly held hostage to an American-style globalized economy, and in a Europe in creasingly seduced by la mode americaine, these texts would seem to epitomize a new queer culture whose very American-ness is the proof of its transnational character. While Kushner and McNally win Tony awards, a more avant-gardist mode of performance has been institutionalized in alternative venues.
And so much the Robertsons. :e � The Particular and the Universal quent Since the decline of vaudeville, the rise of the talkie, and the subse lebrow emergence of television, theater has been-and remains-a midd and marginalized form of cultural production in the United States. 11 And while Broadway is thriving, it does so either by reviving what are now regarded as classic p lays and musicals (usually from the 1940s and 1950s) or by mimicking mass culture and transforming cinematic high jinks into stage spectacle, tu rning Footloose and Saturday Night Fever into lucrative Broadway p roperties.
In com parison with other arts (especially film), theater is queer in part because of its particular mode of address and its uncanny ability to arouse a spectator's mutable and mutating investments. More provocatively than film, theater challenges the heterosexualizing, Oedipal imperative that (according to the Freudian family romance) would definitively separate identification (with the parent of the same sex) from desire (for the par ent of the other sex and, later, a surrogate for that parent).