Decomposition

1) Sue-Ellen Case is Chair of the Department of Theatre and Dance at the University of California, Davis. She has authored and edited several books in the field of feminism and performance studies, including Feminism & Theatre; the Domain-Matrix: Performing Lesbian at the End of Print Culture; and Performing Feminisms.2) Philip Brett is Distinguished Professor of Music at the University of California, Riverside. A leader in gay studies in musicology, he is co-editor of Queering the Pitch: The New Gay and Lesbian Musicology, and he has written extensively on the music of Benjamin Britten.3) Susan Leigh Foster, choreographer, dancer, writer, is Professor of Dance at the University of California campuses of Riverside and Davis. She is author of Reading Dancing and Choreography and Narrative and editor of Choreographing History and Corporealities.

• Part 1. Conferencing About the Unnatural1. Introducing UNNATURAL ACTS, 1997 Susan Leigh Foster2. ACTING UNNATURAL:Interpreting Body Art Amelia Jones3. Listening to Local Practices: Performance and Identity Politics in Riverside, California Deborah WongPart 2. Contesting White Spaces4. Black Noise / White Mastery Ronald Radano5. Like a Weed in a Vacant Lot: The Black Artists Group in St. Louis George Lipsitz6. Yayoi Kusama's Body of Art Kristine C. Kuramitsu7. "Oh, You Can't Just Let a Man Walk Over You":Staging Threepenny Opera in Singapore Sue-Ellen CasePart 3. Acting Manly8. The Britten Era Philip Brett9. A Question of Balls: The Sexual Politics of Argentine Soccer Jeffrey Tobin10. Music at Home, Politics Afar Timothy D. TaylorPart 4. Talking Vulvas and Other Body Parts11. Looking Like a Lesbian: Yvonne Rainer's Theory of Probability Catherine Lord12. Structure, Size, and Play: The Case of the Talking Vulva B.J. WrayPart 5. De-composing the Unnatural13. Decomposition Elizabeth WoodNotes on ContributorsIndex