Sean Metzger is Professor and the Associate Dean for Faculty and Students in the UCLA School of Theater, Film, and Television, USA.Roberta Mock is Professor of Performance and Executive Dean of the School of Performing and Digital Arts at Royal Holloway, University of London, UK.

This elegantly conceptualized volume assembles a robust constellation of national, transnational, and regional case studies that, with dazzling interdisciplinarity, deftly chart the constancy of gendered structural violence within theatre practice and across theatrical cultures. An invaluable and timely resource for scholars, teachers, and practitioners.

• List of IllustrationsList of ContributorsAbout this BookAcknowledgementsPART 1: ORIENTATIONS AND REORIENTATIONS1.i. Introduction: Gender and Theatre, Sean Metzger (UCLA, USA) and Roberta Mock (Royal Holloway, University of London, UK)1.ii. Keywords: Gender, Trans, and Intersectionality, Carla Neuss (Baylor University, USA)1.iii. Framing Theatre and Gender through Indigenous Performance Practices: A Roundtable, Tammy Haili‘opua Baker (Writer and Director of Ka Halau Hanakeaka, Hawaii), Leslie Ishii, (Artistic director of Perseverance Theatre, Alaska) and Hanay Geiogamah (Founder of the American Indian Dance Theatre), with Sean Metzger and Roberta Mock1.iv. Gender as Method: Brecht, Mao, and Objects of History, Hentyle Yapp (UC San Diego, USA) PART 2: GEOPOLITICS AND BIOPOLITICS2.i. Introduction to Part 2, Sean Metzger (UCLA, USA) and Roberta Mock (Royal Holloway, University of London, UK)2.ii. Disobedient Women and Theatre Historiography in India, Swati Arora (Queen Mary, University of London, UK)2.iii. Gender Politics in the Cabaret Theatre of Jesusa Rodríguez and Astrid Hadad, Analola Santana (Dartmouth College, USA)2.iv. Afro/Caribbean Crossings: Gaël Octavia, Guy Régis Jr, and Sex/Gender/Theatre Work with Heteroimperiality, Christian Flaugh (SUNY University at Buffalo, USA)2.v. The Intersectional Politics of Nakkiah Lui’s Blackie Blackie Brown and How to Rule the World, Sarah French (University of Melbourne, Austrailia) and Sandra D’Urso (Independent scholar, Australia)2.vi. Uncanny Masculinity: Disrupting White Male Privilege in Two Contemporary Canadian Plays, Peter Kuling (University of Guelph, Canada) and Kim Solga (Western University, Canada)2.vii. False Bound Feet and Forged Paintings: Propping up Gender in Early Modern Chinese Theatre, S. E. Kile (University of Michigan, USA)2.viii. Schrödinger’s Pussy: Slave Actors and Fluid Desire in Early Roman Comedy, Amy Richlin (UCLA, USA)PART 3: TRANSMEDIA3.i. Introduction to Part 3, Sean Metzger (UCLA, USA) Roberta Mock (Royal Holloway, University of London, UK)3.ii. Dead Girl Walking: Girlhood and Happy-Endings in Heathers: The Musical, Joanne ‘Bob’ Whalley (University of the Arts London, UK) and Lee Miller (Falmouth University, UK)3.iii. Theatrical Transing and the Virtuosic Self, Lazlo Pearlman (Santa Clara University, USA)3.iv. Stage Body, Stage Gender: Kabuki Actors and Print Identity in Early Modern Japan (1600-1868), Satoko Shimazaki (UCLA, USA and Waseda University, Japan)3.v. Gender Performance, Sexual Play, and Early Modern Holiday Games, Erika Lin (Graduate Center, CUNY, USA)3.vi. ‘Who’s Invited to the Cookout?’: The Spectralization of Black Women in Theatre and New Media, Kimberly Chantal Welch (UCLA, USA)3.vii. Cultural Genitals and the Emancipated Fembot: Performing Gender, Race, and Technology in Cyborg Theatre, Evelyn Wan (Utrecht University, the Netherlands)PART 4: GENRE AND THEATRICAL FORM4.i. Introduction to Part 4, Sean Metzger (UCLA, USA) Roberta Mock (Royal Holloway, University of London, UK)4.ii. Rethinking Gender in the Hispanic Comedia, Barbara Fuchs (UCLA, USA)4.iii. Post-Folkloric Drag: México de Colores and the Theatricalization of Gender, Enzo E. Vasquez Toral (University of Texas at Austin, USA)4.iv. Staging Femme Excess in the Work of Lucy McCormick, Selina Thompson, and Travis Alabanza, Sarah Gorman (Roehampton University, UK) and Roberta Mock (Royal Holloway, University of London, UK)4.v. Performing Vulnerable Masculinity in Northern Ireland’s Post-Conflict Documentary Theatre, Lisa Fitzpatrick (Ulster University in Derry, UK)4.vi. Becoming Afriqueer: Conjuring Alternative Masculinities Through Site-Specific Performance, April Sizemore-Barber (Georgetown University, USA)4.vii. Towards a Trans Theatre, Sylvan Oswald (UCLA, USA)PART 5: RESOURCES AND BACK MATTER5.i. Annotated Play Lists, Devon Baur (UCLA, USA) and Elizabeth Schiffler (UCLA, USA)Index

Sean Metzger is Professor and the Associate Dean for Faculty and Students in the UCLA School of Theater, Film, and Television, USA.Roberta Mock is Professor of Performance and Executive Dean of the School of Performing and Digital Arts at Royal Holloway, University of London, UK.

This elegantly conceptualized volume assembles a robust constellation of national, transnational, and regional case studies that, with dazzling interdisciplinarity, deftly chart the constancy of gendered structural violence within theatre practice and across theatrical cultures. An invaluable and timely resource for scholars, teachers, and practitioners.

• List of IllustrationsList of ContributorsAbout this BookAcknowledgementsPART 1: ORIENTATIONS AND REORIENTATIONS1.i. Introduction: Gender and Theatre, Sean Metzger (UCLA, USA) and Roberta Mock (Royal Holloway, University of London, UK)1.ii. Keywords: Gender, Trans, and Intersectionality, Carla Neuss (Baylor University, USA)1.iii. Framing Theatre and Gender through Indigenous Performance Practices: A Roundtable, Tammy Haili‘opua Baker (Writer and Director of Ka Halau Hanakeaka, Hawaii), Leslie Ishii, (Artistic director of Perseverance Theatre, Alaska) and Hanay Geiogamah (Founder of the American Indian Dance Theatre), with Sean Metzger and Roberta Mock1.iv. Gender as Method: Brecht, Mao, and Objects of History, Hentyle Yapp (UC San Diego, USA) PART 2: GEOPOLITICS AND BIOPOLITICS2.i. Introduction to Part 2, Sean Metzger (UCLA, USA) and Roberta Mock (Royal Holloway, University of London, UK)2.ii. Disobedient Women and Theatre Historiography in India, Swati Arora (Queen Mary, University of London, UK)2.iii. Gender Politics in the Cabaret Theatre of Jesusa Rodríguez and Astrid Hadad, Analola Santana (Dartmouth College, USA)2.iv. Afro/Caribbean Crossings: Gaël Octavia, Guy Régis Jr, and Sex/Gender/Theatre Work with Heteroimperiality, Christian Flaugh (SUNY University at Buffalo, USA)2.v. The Intersectional Politics of Nakkiah Lui’s Blackie Blackie Brown and How to Rule the World, Sarah French (University of Melbourne, Austrailia) and Sandra D’Urso (Independent scholar, Australia)2.vi. Uncanny Masculinity: Disrupting White Male Privilege in Two Contemporary Canadian Plays, Peter Kuling (University of Guelph, Canada) and Kim Solga (Western University, Canada)2.vii. False Bound Feet and Forged Paintings: Propping up Gender in Early Modern Chinese Theatre, S. E. Kile (University of Michigan, USA)2.viii. Schrödinger’s Pussy: Slave Actors and Fluid Desire in Early Roman Comedy, Amy Richlin (UCLA, USA)PART 3: TRANSMEDIA3.i. Introduction to Part 3, Sean Metzger (UCLA, USA) Roberta Mock (Royal Holloway, University of London, UK)3.ii. Dead Girl Walking: Girlhood and Happy-Endings in Heathers: The Musical, Joanne ‘Bob’ Whalley (University of the Arts London, UK) and Lee Miller (Falmouth University, UK)3.iii. Theatrical Transing and the Virtuosic Self, Lazlo Pearlman (Santa Clara University, USA)3.iv. Stage Body, Stage Gender: Kabuki Actors and Print Identity in Early Modern Japan (1600-1868), Satoko Shimazaki (UCLA, USA and Waseda University, Japan)3.v. Gender Performance, Sexual Play, and Early Modern Holiday Games, Erika Lin (Graduate Center, CUNY, USA)3.vi. ‘Who’s Invited to the Cookout?’: The Spectralization of Black Women in Theatre and New Media, Kimberly Chantal Welch (UCLA, USA)3.vii. Cultural Genitals and the Emancipated Fembot: Performing Gender, Race, and Technology in Cyborg Theatre, Evelyn Wan (Utrecht University, the Netherlands)PART 4: GENRE AND THEATRICAL FORM4.i. Introduction to Part 4, Sean Metzger (UCLA, USA) Roberta Mock (Royal Holloway, University of London, UK)4.ii. Rethinking Gender in the Hispanic Comedia, Barbara Fuchs (UCLA, USA)4.iii. Post-Folkloric Drag: México de Colores and the Theatricalization of Gender, Enzo E. Vasquez Toral (University of Texas at Austin, USA)4.iv. Staging Femme Excess in the Work of Lucy McCormick, Selina Thompson, and Travis Alabanza, Sarah Gorman (Roehampton University, UK) and Roberta Mock (Royal Holloway, University of London, UK)4.v. Performing Vulnerable Masculinity in Northern Ireland’s Post-Conflict Documentary Theatre, Lisa Fitzpatrick (Ulster University in Derry, UK)4.vi. Becoming Afriqueer: Conjuring Alternative Masculinities Through Site-Specific Performance, April Sizemore-Barber (Georgetown University, USA)4.vii. Towards a Trans Theatre, Sylvan Oswald (UCLA, USA)PART 5: RESOURCES AND BACK MATTER5.i. Annotated Play Lists, Devon Baur (UCLA, USA) and Elizabeth Schiffler (UCLA, USA)Index

Sean Metzger is Professor and the Associate Dean for Faculty and Students in the UCLA School of Theater, Film, and Television, USA.Roberta Mock is Professor of Performance and Executive Dean of the School of Performing and Digital Arts at Royal Holloway, University of London, UK.

This elegantly conceptualized volume assembles a robust constellation of national, transnational, and regional case studies that, with dazzling interdisciplinarity, deftly chart the constancy of gendered structural violence within theatre practice and across theatrical cultures. An invaluable and timely resource for scholars, teachers, and practitioners.

• List of IllustrationsList of ContributorsAbout this BookAcknowledgementsPART 1: ORIENTATIONS AND REORIENTATIONS1.i. Introduction: Gender and Theatre, Sean Metzger (UCLA, USA) and Roberta Mock (Royal Holloway, University of London, UK)1.ii. Keywords: Gender, Trans, and Intersectionality, Carla Neuss (Baylor University, USA)1.iii. Framing Theatre and Gender through Indigenous Performance Practices: A Roundtable, Tammy Haili‘opua Baker (Writer and Director of Ka Halau Hanakeaka, Hawaii), Leslie Ishii, (Artistic director of Perseverance Theatre, Alaska) and Hanay Geiogamah (Founder of the American Indian Dance Theatre), with Sean Metzger and Roberta Mock1.iv. Gender as Method: Brecht, Mao, and Objects of History, Hentyle Yapp (UC San Diego, USA) PART 2: GEOPOLITICS AND BIOPOLITICS2.i. Introduction to Part 2, Sean Metzger (UCLA, USA) and Roberta Mock (Royal Holloway, University of London, UK)2.ii. Disobedient Women and Theatre Historiography in India, Swati Arora (Queen Mary, University of London, UK)2.iii. Gender Politics in the Cabaret Theatre of Jesusa Rodríguez and Astrid Hadad, Analola Santana (Dartmouth College, USA)2.iv. Afro/Caribbean Crossings: Gaël Octavia, Guy Régis Jr, and Sex/Gender/Theatre Work with Heteroimperiality, Christian Flaugh (SUNY University at Buffalo, USA)2.v. The Intersectional Politics of Nakkiah Lui’s Blackie Blackie Brown and How to Rule the World, Sarah French (University of Melbourne, Austrailia) and Sandra D’Urso (Independent scholar, Australia)2.vi. Uncanny Masculinity: Disrupting White Male Privilege in Two Contemporary Canadian Plays, Peter Kuling (University of Guelph, Canada) and Kim Solga (Western University, Canada)2.vii. False Bound Feet and Forged Paintings: Propping up Gender in Early Modern Chinese Theatre, S. E. Kile (University of Michigan, USA)2.viii. Schrödinger’s Pussy: Slave Actors and Fluid Desire in Early Roman Comedy, Amy Richlin (UCLA, USA)PART 3: TRANSMEDIA3.i. Introduction to Part 3, Sean Metzger (UCLA, USA) Roberta Mock (Royal Holloway, University of London, UK)3.ii. Dead Girl Walking: Girlhood and Happy-Endings in Heathers: The Musical, Joanne ‘Bob’ Whalley (University of the Arts London, UK) and Lee Miller (Falmouth University, UK)3.iii. Theatrical Transing and the Virtuosic Self, Lazlo Pearlman (Santa Clara University, USA)3.iv. Stage Body, Stage Gender: Kabuki Actors and Print Identity in Early Modern Japan (1600-1868), Satoko Shimazaki (UCLA, USA and Waseda University, Japan)3.v. Gender Performance, Sexual Play, and Early Modern Holiday Games, Erika Lin (Graduate Center, CUNY, USA)3.vi. ‘Who’s Invited to the Cookout?’: The Spectralization of Black Women in Theatre and New Media, Kimberly Chantal Welch (UCLA, USA)3.vii. Cultural Genitals and the Emancipated Fembot: Performing Gender, Race, and Technology in Cyborg Theatre, Evelyn Wan (Utrecht University, the Netherlands)PART 4: GENRE AND THEATRICAL FORM4.i. Introduction to Part 4, Sean Metzger (UCLA, USA) Roberta Mock (Royal Holloway, University of London, UK)4.ii. Rethinking Gender in the Hispanic Comedia, Barbara Fuchs (UCLA, USA)4.iii. Post-Folkloric Drag: México de Colores and the Theatricalization of Gender, Enzo E. Vasquez Toral (University of Texas at Austin, USA)4.iv. Staging Femme Excess in the Work of Lucy McCormick, Selina Thompson, and Travis Alabanza, Sarah Gorman (Roehampton University, UK) and Roberta Mock (Royal Holloway, University of London, UK)4.v. Performing Vulnerable Masculinity in Northern Ireland’s Post-Conflict Documentary Theatre, Lisa Fitzpatrick (Ulster University in Derry, UK)4.vi. Becoming Afriqueer: Conjuring Alternative Masculinities Through Site-Specific Performance, April Sizemore-Barber (Georgetown University, USA)4.vii. Towards a Trans Theatre, Sylvan Oswald (UCLA, USA)PART 5: RESOURCES AND BACK MATTER5.i. Annotated Play Lists, Devon Baur (UCLA, USA) and Elizabeth Schiffler (UCLA, USA)Index