Stephen Farrier – författare

The Routledge Companion to Drag offers a comprehensive academic exploration of drag as a global, historical, and cultural phenomenon.This volume examines drag beyond its popularised media image, tracing its diverse practices across time and geography. Chapters address key themes such as the history, herstory, and theirstory of drag, its representation on television, activism, and performance traditions from the Victorian and Elizabethan stage to contemporary contexts. With contributions that extend beyond the global North, the book foregrounds intersectional perspectives on race, ethnicity, the body, class, and sexuality, while engaging with issues such as the AIDS pandemic and cultural politics. Rejecting uniformity, it embraces the complexity and multiplicity of drag cultures worldwide. The Routledge Companion to Drag is ideal for undergraduates, postgraduates, and researchers in Gender Studies, Anthropology, Sociology, and Politics, and provides an essential resource for those seeking critical insights into modern and historical drag practices and its discourse.

The Routledge Companion to Drag offers a comprehensive academic exploration of drag as a global, historical, and cultural phenomenon.This volume examines drag beyond its popularised media image, tracing its diverse practices across time and geography. Chapters address key themes such as the history, herstory, and theirstory of drag, its representation on television, activism, and performance traditions from the Victorian and Elizabethan stage to contemporary contexts. With contributions that extend beyond the global North, the book foregrounds intersectional perspectives on race, ethnicity, the body, class, and sexuality, while engaging with issues such as the AIDS pandemic and cultural politics. Rejecting uniformity, it embraces the complexity and multiplicity of drag cultures worldwide. The Routledge Companion to Drag is ideal for undergraduates, postgraduates, and researchers in Gender Studies, Anthropology, Sociology, and Politics, and provides an essential resource for those seeking critical insights into modern and historical drag practices and its discourse.

This international collection of essays forms a vibrant picture of the scope and diversity of contemporary queer performance. Ranging across cabaret, performance art, the performativity of film, drag and script-based theatre it unravels the dynamic relationship performance has with queerness as it is presented in local and transnational contexts.

This international collection of essays forms a vibrant picture of the scope and diversity of contemporary queer performance. Ranging across cabaret, performance art, the performativity of film, drag and script-based theatre it unravels the dynamic relationship performance has with queerness as it is presented in local and transnational contexts.

This international collection of essays forms a vibrant picture of the scope and diversity of contemporary queer performance. Ranging across cabaret, performance art, the performativity of film, drag and script-based theatre it unravels the dynamic relationship performance has with queerness as it is presented in local and transnational contexts.

In recent years drag performance has moved from the fringes to emerge as a mainstream phenomenon, showcased on TV shows in the US and the UK.This collection offers a diverse range of critical engagements by drag performers, makers, scholars and writers reflecting on work from the UK, USA, Israel, Germany and Australia. Moving beyond discussions of gender theory, the essays consider contemporary drag performance practices, connecting them to the histories, communities and politics that produced them. Chapters range across discussions of drag kings in the US, UK and drag and activism; the influence of RuPaul on the generation of new forms of work in New York; transfeminist critiques of drag; ‘bio’/faux queens;engagements with race and ethnicity through drag performance; drag andragogy; audience concerns; drag intersections with animal personas, and how drag performance relates to personal narratives of history and identity. Collectively the contributions focus on drag as a mode of performance that is diverse and that uncorsets the easy thought that drag is simply a cross dressing man in a dress or a woman in a suit.

In recent years drag performance has moved from the fringes to emerge as a mainstream phenomenon, showcased on TV shows in the US and the UK.This collection offers a diverse range of critical engagements by drag performers, makers, scholars and writers reflecting on work from the UK, USA, Israel, Germany and Australia. Moving beyond discussions of gender theory, the essays consider contemporary drag performance practices, connecting them to the histories, communities and politics that produced them. Chapters range across discussions of drag kings in the US, UK and drag and activism; the influence of RuPaul on the generation of new forms of work in New York; transfeminist critiques of drag; ''bio''/faux queens;engagements with race and ethnicity through drag performance; drag andragogy; audience concerns; drag intersections with animal personas, and how drag performance relates to personal narratives of history and identity. Collectively the contributions focus on drag as a mode of performance that is diverse and that uncorsets the easy thought that drag is simply a cross dressing man in a dress or a woman in a suit.

In recent years drag performance has moved from the fringes to emerge as a mainstream phenomenon, showcased on TV shows in the US and the UK.This collection offers a diverse range of critical engagements by drag performers, makers, scholars and writers reflecting on work from the UK, USA, Israel, Germany and Australia. Moving beyond discussions of gender theory, the essays consider contemporary drag performance practices, connecting them to the histories, communities and politics that produced them. Chapters range across discussions of drag kings in the US, UK and drag and activism; the influence of RuPaul on the generation of new forms of work in New York; transfeminist critiques of drag; ''bio''/faux queens;engagements with race and ethnicity through drag performance; drag andragogy; audience concerns; drag intersections with animal personas, and how drag performance relates to personal narratives of history and identity. Collectively the contributions focus on drag as a mode of performance that is diverse and that uncorsets the easy thought that drag is simply a cross dressing man in a dress or a woman in a suit.

Drawing on rich interdisciplinary research that has laced the emerging subject of drag studies as an academic discipline, this book examines how drag performance is a political, socio-cultural practice with a widespread lineage throughout the history of performance. This volume maps the multi-threaded contexts of contemporary practices while rooting them in their fabulous historical past and memory.The book examines drag histories and what drag does with history, how it enacts or tells stories about remembering and the past. Featuring work about the USA, UK and Ireland, Japan, Australia, Brazil and Barbados, this book allows the reader to engage with a range of archival research including camp and history; ethnicity and drag; queering ballet through drag; the connections between drag king and queen history; queering pantomime performance; drag and military veterans; Puerto Rican drag performers and historical film.

Drawing on rich interdisciplinary research that has laced the emerging subject of drag studies as an academic discipline, this book examines how drag performance is a political, socio-cultural practice with a widespread lineage throughout the history of performance. This volume maps the multi-threaded contexts of contemporary practices while rooting them in their fabulous historical past and memory.The book examines drag histories and what drag does with history, how it enacts or tells stories about remembering and the past. Featuring work about the USA, UK and Ireland, Japan, Australia, Brazil and Barbados, this book allows the reader to engage with a range of archival research including camp and history; ethnicity and drag; queering ballet through drag; the connections between drag king and queen history; queering pantomime performance; drag and military veterans; Puerto Rican drag performers and historical film.

Drawing on rich interdisciplinary research that has laced the emerging subject of drag studies as an academic discipline, this book examines how drag performance is a political, socio-cultural practice with a widespread lineage throughout the history of performance. This volume maps the multi-threaded contexts of contemporary practices while rooting them in their fabulous historical past and memory.The book examines drag histories and what drag does with history, how it enacts or tells stories about remembering and the past. Featuring work about the USA, UK and Ireland, Japan, Australia, Brazil and Barbados, this book allows the reader to engage with a range of archival research including camp and history; ethnicity and drag; queering ballet through drag; the connections between drag king and queen history; queering pantomime performance; drag and military veterans; Puerto Rican drag performers and historical film.

Drawing on rich interdisciplinary research that has laced the emerging subject of drag studies as an academic discipline, this book examines how drag performance is a political, socio-cultural practice with a widespread lineage throughout the history of performance. This volume maps the multi-threaded contexts of contemporary practices while rooting them in their fabulous historical past and memory.The book examines drag histories and what drag does with history, how it enacts or tells stories about remembering and the past. Featuring work about the USA, UK and Ireland, Japan, Australia, Brazil and Barbados, this book allows the reader to engage with a range of archival research including camp and history; ethnicity and drag; queering ballet through drag; the connections between drag king and queen history; queering pantomime performance; drag and military veterans; Puerto Rican drag performers and historical film.

In recent years drag performance has moved from the fringes to emerge as a mainstream phenomenon, showcased on TV shows in the US and the UK.This collection offers a diverse range of critical engagements by drag performers, makers, scholars and writers reflecting on work from the UK, USA, Israel, Germany and Australia. Moving beyond discussions of gender theory, the essays consider contemporary drag performance practices, connecting them to the histories, communities and politics that produced them. Chapters range across discussions of drag kings in the US, UK and drag and activism; the influence of RuPaul on the generation of new forms of work in New York; transfeminist critiques of drag; ‘bio’/faux queens;engagements with race and ethnicity through drag performance; drag andragogy; audience concerns; drag intersections with animal personas, and how drag performance relates to personal narratives of history and identity. Collectively the contributions focus on drag as a mode of performance that is diverse and that uncorsets the easy thought that drag is simply a cross dressing man in a dress or a woman in a suit.

Winner of the TaPRA Edited Collection Prize 2026This third and final volume in Edward and Farrier’s groundbreaking trilogy spotlights the vibrant spectrum of drag as an art form, identity category and political force. Drawing on practice, research, and interdisciplinary approaches, the volume captures drag’s continual capacity to challenge, critique and create.Drawing from a range of academic disciplines, including critical disability studies, media, philosophy, linguistics, the book celebrates the many faces – and possibilities – of drag as a cultural and performance form. The contributions include chapters that are assertively activist, deeply reflective, and thought provoking.This third volume goes in search of new conversations through the exploration of critical drag studies. The frameworks that formulate these conversations advocate for a broader, inclusive vision of drag, while not shying away from some of its problematic components. The chapters peek behind the glamourous veneer of drag, exposing the grit and sweat that underpin the performance, while winking at the theory that we may use to understand. Drag Vistas and Visions sees drag through a transformative lens that pushes boundaries and transcends the ordinary.

This third and final volume in Edward and Farrier's groundbreaking trilogy spotlights the vibrant spectrum of drag as an art form, identity category and political force. Drawing on practice, research, and interdisciplinary approaches, the volume captures drag's continual capacity to challenge, critique and create.Drawing from a range of academic disciplines, including critical disability studies, media, philosophy, linguistics, the book celebrates the many faces and possibilities of drag as a cultural and performance form. The contributions include chapters that are assertively activist, deeply reflective, and thought provoking. This third volume goes in search of new conversations through the exploration of critical drag studies. The frameworks that formulate these conversations advocate for a broader, inclusive vision of drag, while not shying away from some of its problematic components. The chapters peek behind the glamourous veneer of drag, exposing the grit and sweat that underpin the performance, while winking at the theory that we may use to understand. Drag Vistas and Visions sees drag through a transformative lens that pushes boundaries and transcends the ordinary.

This third and final volume in Edward and Farrier's groundbreaking trilogy spotlights the vibrant spectrum of drag as an art form, identity category and political force. Drawing on practice, research, and interdisciplinary approaches, the volume captures drag's continual capacity to challenge, critique and create.Drawing from a range of academic disciplines, including critical disability studies, media, philosophy, linguistics, the book celebrates the many faces and possibilities of drag as a cultural and performance form. The contributions include chapters that are assertively activist, deeply reflective, and thought provoking. This third volume goes in search of new conversations through the exploration of critical drag studies. The frameworks that formulate these conversations advocate for a broader, inclusive vision of drag, while not shying away from some of its problematic components. The chapters peek behind the glamourous veneer of drag, exposing the grit and sweat that underpin the performance, while winking at the theory that we may use to understand. Drag Vistas and Visions sees drag through a transformative lens that pushes boundaries and transcends the ordinary.