Trevor Boffone - Böcker

Renegades: Digital Dance Cultures from Dubsmash to TikTok explores how hip hop culture -- principally music and dance -- is used to construct and perform identity and maintain a growing urban youth subculture. This community finds its home on Dubsmash, a social media app that lets users record short dance challenge videos before cross-sharing them on different social media apps such as Instagram and Snapchat. Author Trevor Boffone interrogates the roles that Dubsmash, social media, and hip hop music and dance play in youth identity formation in the United States. These so-called Dubsmashers privilege their cultural and individual identities through the use of performance strategies that reinforce notions of community and social media interconnectedness in the digital age. These young people create a sense of identity and community that informs and is informed by hip hop culture. As such, the book argues that Dubsmash serves as a fundamental space to fashion contemporary youth identity. To do this, the book re-appropriates the term "Renegade" to explain the nuanced ways that Dubsmashers take up visual and sonic space on social media apps to self-fashion identity, form supportive digital communities, and exert agency to take up space that is often denied to them in other facets of their lives.

Renegades: Digital Dance Cultures from Dubsmash to TikTok explores how hip hop culture -- principally music and dance -- is used to construct and perform identity and maintain a growing urban youth subculture. This community finds its home on Dubsmash, a social media app that lets users record short dance challenge videos before cross-sharing them on different social media apps such as Instagram and Snapchat. Author Trevor Boffone interrogates the roles that Dubsmash, social media, and hip hop music and dance play in youth identity formation in the United States. These so-called Dubsmashers privilege their cultural and individual identities through the use of performance strategies that reinforce notions of community and social media interconnectedness in the digital age. These young people create a sense of identity and community that informs and is informed by hip hop culture. As such, the book argues that Dubsmash serves as a fundamental space to fashion contemporary youth identity. To do this, the book re-appropriates the term "Renegade" to explain the nuanced ways that Dubsmashers take up visual and sonic space on social media apps to self-fashion identity, form supportive digital communities, and exert agency to take up space that is often denied to them in other facets of their lives.

Are you a musical theatre fan who loves TikTok? Or are you curious about how this social media app has changed musical theatre fandom - and even the concept of the musical itself? TikTok Broadway: Musical Theatre Fandom in the Digital Age takes readers inside the world of TikTok Broadway, where fans create, expand, and canonize musical theatre through viral videos. It argues that TikTok democratizes musical theatre fan cultures and spaces, creating a new canon of musical theatre that reflects the preferences and passions of the fans. Readers will also see how TikTok Broadway influences other aspects of U.S. popular culture, from Broadway shows to TV adaptations.From Six and Beetlejuice to Wicked and Ratatouille: The TikTok Musical, this book covers the most popular and innovative musical theatre content on TikTok. Author Trevor Boffone, a musical theatre scholar and a TikTok creator, shows how fans use the app to express their love for musical theatre, and how they collaborate to produce original works, such as Bridgerton: The Musical. TikTok Broadway: Musical Theatre Fandom in the Digital Age shows how the app puts power in the hands of the fans.

This anthology has its origins in the Encuentro theater festival, which was produced by the Latino Theater Company in association with the Latinx Theatre Commons in Los Angeles in 2014. Encuentro means “an encounter,” and meetings form a core theme in these six groundbreaking plays, each prefaced by a critical introduction from a leading Latinx theater scholar.Playwrights Ruben C. Gonzalez, José Torres-Tama, Rickerby Hinds, Mariana Carreño King, Javier Antonio González, and Evelina Fernández exhibit a wide range of aesthetic approaches, dramatic structures, and themes, ranging from marriage, gentrification, racial and gendered violence, migration, and the ever-present politics of the U.S.–Mexico border. There is power in the communal experience of creating, witnessing, and participating in theater festivals. This anthology is a testament to that power and seeks to document the historic festival as well as to make these works available to a wider audience.Encuentro: Latinx Performance for the New American Theater addresses interests of general audiences committed to the performing arts; scholars and students of Latinx, gender, and ethnic studies; university, college, and high school theater programs; and regional theaters looking to diversify their programming.

What can Latinx youth contribute to critical conversations on culture, politics, identity, and representation? Latinx Teens answers this question and more by offering an energetic, in-depth look at how Latinx teenagers influence twenty-first-century U.S. popular culture.In this exciting new book, Trevor Boffone and Cristina Herrera explore the diverse ways that contemporary mainstream film, television, theater, and young adult literature invokes, constructs, and interprets adolescent Latinidad. Latinx Teens shows how coming-of-age Latinx representation is performed in mainstream media, and how U.S. audiences consume Latinx characters and stories. Despite the challenges that the Latinx community face in both real and fictional settings, Latinx teens in pop culture forge spaces that institutionalize Latinidad. Teen characters make Latinx adolescence mainstream and situate teen characters as both in and outside their Latinx communities and U.S. mainstream culture, conveying the complexities of “fitting in,” and refusing to fit in all at the same time.Fictional teens such as Spider-Man’s Miles Morales, I Am Not Your Perfect Mexican Daughter’s Julia Reyes, Party of Five’s Acosta siblings, and In the Heights’s Nina Rosario comprise a growing body of pop culture media that portray young Latinxs as three-dimensional individuals who have agency, authenticity, and serious charisma. Teenagers and young adults have always had the power to manifest social change, and this book acknowledges, celebrates, and investigates how Latinx teens in popular culture take on important current issues.With a dynamic interdisciplinary approach, Latinx Teens explores how Latinxs on the cusp of adulthood challenge, transform, expand, and reimagine Latinx identities and their relationships to mainstream U.S. popular culture in the twenty-first century.The book makes a critical intervention into Latinx studies, youth studies, and media cultures. Students and scholars alike will benefit from the book’s organization, complete with chapters that focus on specific mediums and conclude with suggestions for further reading and viewing. As the first book that specifically examines Latinx adolescence in popular culture, Latinx Teens insists that we must privilege the stories of Latinx teenagers in television, film, theater, and literature to get to the heart of Latinx popular culture. Exploring themes around representation, identity, gender, sexuality, and race, the works explored in this groundbreaking volume reveal that there is no single way to be Latinx, and show how Latinx youth are shaping the narrative of the Latinx experience for a more inclusive future.

The official journal of the Mid-America Theatre ConferenceTheatre History Studies is the official journal of the Mid-America Theatre Conference, Inc. (MATC). The conference is dedicated to the growth and improvement of all forms of theatre throughout a twelve-state region that includes the states of Illinois, Iowa, Nebraska, Kansas, Missouri, Minnesota, North Dakota, South Dakota, and Wisconsin. Its purposes are to unite people and organizations within this region and elsewhere who have an interest in theatre and to promote the growth and development of all forms of theatre.Published annually since 1981, Theatre History Studies provides critical, analytical, and descriptive essays on all aspects of theatre history and is devoted to disseminating the highest quality peer-review scholarship in the field.

TikTok Cultures in the United States examines the role of TikTok in US popular culture, paying close attention to the app’s growing body of subcultures.Featuring an array of scholars from varied disciplines and backgrounds, this book uses TikTok (sub)cultures as a point of departure from which to explore TikTok’s role in US popular culture today. Engaging with the extensive and growing scholarship on TikTok from international scholars, chapters in this book create frameworks and blueprints from which to analyze TikTok within a distinctly US context, examining topics such as gender and sexuality, feminism, race and ethnicity and wellness.Shaping TikTok as an interdisciplinary field in and of itself, this insightful and timely volume will be of great interest to students and scholars of new and digital media, social media, popular culture, communication studies, sociology of media, dance, gender studies, and performance studies.

TikTok Cultures in the United States examines the role of TikTok in US popular culture, paying close attention to the app’s growing body of subcultures.Featuring an array of scholars from varied disciplines and backgrounds, this book uses TikTok (sub)cultures as a point of departure from which to explore TikTok’s role in US popular culture today. Engaging with the extensive and growing scholarship on TikTok from international scholars, chapters in this book create frameworks and blueprints from which to analyze TikTok within a distinctly US context, examining topics such as gender and sexuality, feminism, race and ethnicity and wellness.Shaping TikTok as an interdisciplinary field in and of itself, this insightful and timely volume will be of great interest to students and scholars of new and digital media, social media, popular culture, communication studies, sociology of media, dance, gender studies, and performance studies.

Honorable Mention from the 2022 International Latino Book Awards for Best Nonfiction - Multi-AuthorA curated collection of new Latinx and Latin American plays, monologues, interviews, and critical essays that asks the question: what is the common ground between Latinx and Latin American artists?Featuring a mix of plays and scholarly essays, this work originally emerged from the Latino Theater Company’s Encuentro de las Américas festival, produced in partnership with the Latinx Theatre Commons (LTC) at the Los Angeles Theatre Center in 2017. The collection chronicles not only the theatrical productions of the festival, but also features a transnational exploration of U.S. Latinx and Latin American theatre-making. Alongside plays by Evelina Fernández, Alex Alpharaoh, J.Ed Araiza and Carlos Celdrán this anthology also includes a mix of monologues, snapshots, profiles and interviews that together provide a dynamic account of these intersections within U.S. Latinx and Latin American Theater. A unique collection it serves not only as a testament to the diversity of Latinx artists, but also to the strength of the Latinx Theater movement and its ever-growing networks across the Hemispheric Americas.Full playtexts include: Dementia by Evelina FernándezWET: A DACAmented Journey by Alex AlpharoahMiss Julia adapted by J.Ed Araiza10 Million by Carlos Celdrán

This book introduces readers to the widespread phenomenon of how social media platforms such as YouTube, Twitter, and TikTok become an extension of long-standing aspects of musical theatre engagement. Although casual observers may dismiss social media’s import, social media has revolutionized the field of musical theatre since the early days of Web 2.0 with spaces such as AOL, LiveJournal, and Myspace. Now, as social media continues to grow in relevance, the nuanced ways in which digital platforms influence musical culture remain ripe for study. Social Media in Musical Theatre moves beyond viewing social media merely as a passing fad or a space free from critical engagement. Rather, this volume takes a serious look at the critical role social media play in musicals, thus challenging how social media users and musical theatre-makers alike approach digital spaces. This book introduces the relationship between musical theatre and social media in the 21st century as well as methods to study social media’s influence on musicals through three in-depth case studies organized around marketing on YouTube, fan engagement on Twitter, and new musical development on TikTok.

This book explores the under-theorized intersections between Shakespeare and drag in contemporary American culture and performances of and around what it terms “ShaxDrag.”From the root word “yass” comes the verb “to yassify”. On social media, to “yassify” something is to “glamify” it — generally by running it through multiple digital filters and making it queerer in the process. Yassification distorts reality, and its satire lies in its self-referential nature: there needs to be an original object for comparison to the yassified version. Enter: William Shakespeare.From Harold Perrineau’s turn as Mercutio in Baz Luhrmann’s Romeo + Juliet to the “ShakesQueer” episode of RuPaul’s Drag Race, Shakespeare’s cultural capital is often served hand-in-hand with drag aesthetics to contemporary audiences. Using a range of examples including & Juliet, RuPaul’s Drag Race, Something Rotten! and Fat Ham, this book interrogates the specific role Shakespeare plays in American popular culture for contemporary queer audiences. Shakespeare has long symbolized deep connection to white, eurocentric ideas about high culture, education, language, and taste. In digital spaces, Shakespeare can be fragmented, broken apart, manipulated, and re-arranged. In essence: Shakespeare is an identity that one might don and doff at will. This book argues that ShaxDrag is a means through which marginalized voices can liberate Shakespeare’s cultural capital from its colonialist agenda, re-read it via various contemporary filters, and use it to advocate for their own inclusion in greater canons. It uses the concept to mine Shakespearean remixes as a site of queer theory and to reveal how Shakespeare can be a critical site of queer world-making.

This book explores the under-theorized intersections between Shakespeare and drag in contemporary American culture and performances of and around what it terms “ShaxDrag.”From the root word “yass” comes the verb “to yassify”. On social media, to “yassify” something is to “glamify” it — generally by running it through multiple digital filters and making it queerer in the process. Yassification distorts reality, and its satire lies in its self-referential nature: there needs to be an original object for comparison to the yassified version. Enter: William Shakespeare.From Harold Perrineau’s turn as Mercutio in Baz Luhrmann’s Romeo + Juliet to the “ShakesQueer” episode of RuPaul’s Drag Race, Shakespeare’s cultural capital is often served hand-in-hand with drag aesthetics to contemporary audiences. Using a range of examples including & Juliet, RuPaul’s Drag Race, Something Rotten! and Fat Ham, this book interrogates the specific role Shakespeare plays in American popular culture for contemporary queer audiences. “ShaxDrag” can be an act of performance layered on top of drag, but additionally this book argues that adopting the persona of Shakespeare in the creative context of playful anachronisms, as in queer-coded iterations on Broadway or at Renaissance fairs, is in itself an act of drag. Shakespeare has long symbolized deep connection to white, eurocentric ideas about high culture, education, language, and taste. In digital spaces, Shakespeare can be fragmented, broken apart, manipulated, and re-arranged. In essence: Shakespeare is an identity that one might don and doff at will. This book argues that ShaxDrag is a means through which marginalized voices can liberate Shakespeare’s cultural capital from its colonialist agenda, re-read it via various contemporary filters, and use it to advocate for their own inclusion in greater canons. It uses the concept to mine Shakespearean remixes as a site of queer theory and to reveal how Shakespeare can be a critical site of queer world-making.

Shakespeare and Latinidad is a collection of scholarly and practitioner essays in the field of Latinx theatre that specifically focuses on Latinx productions and appropriations of Shakespeare’s plays. It is the first truly comprehensive treatment of this style of adaptation, bringing together the diverse voices working in this field today including leading academics, playwrights and theatre practitioners. This blend of essays and interviews reflects the transdisciplinary synthesis of scholarship, dramaturgy and pedagogy that shapes Latinx engagement with Shakespeare.

A timely and exciting intervention at the intersection of Latinx and Shakespeare StudiesIntroduces the diverse ways that Shakespeare's works may be adapted for Latinx communitiesOffers detailed strategies for pedagogical and dramaturgical engagement with students when adapting Shakespeare for another culturePresents several approaches for English-to-English Shakespeare translationAttends to the breadth of Latinx populations culturally, generationally, linguistically, and educationally to break down homogenized notions of LatinidadGives directors, voice coaches, actors, and playwrights a voice in scholarshipDevelops the theoretical lenses by which we analyze ethnic theatreShakespeare and Latinidad is a collection of scholarly and practitioner essays in the field of Latinx theatre that specifically focuses on Latinx productions and appropriations of Shakespeare's plays. It is the first truly comprehensive treatment of this style of adaptation, bringing together the diverse voices working in this field today including leading academics, playwrights and theatre practitioners. This blend of essays and interviews reflects the transdisciplinary synthesis of scholarship, dramaturgy and pedagogy that shapes Latinx engagement with Shakespeare.

Contributions by Carolina Alonso, Elena Avil's, Trevor Boffone, Christi Cook, Ella Diaz, Amanda Ellis, Cristina Herrera, Guadalupe García McCall, Domino Renee Pérez, Adrianna M. Santos, Roxanne Schroeder-Arce, Lettycia Terrones, and Tim Wadham In Nerds, Goths, Geeks, and Freaks: Outsiders in Chicanx and Latinx Young Adult Literature, the outsider intersects with discussions of race, ethnicity, gender, and sexuality. The essays in this volume address questions of outsider identities and how these identities are shaped by mainstream myths around Chicanx and Latinx young people, particularly with the common stereotype of the struggling, underachieving inner-city teens.Contributors also grapple with how young adults reclaim what it means to be an outsider, weirdo, nerd, or goth, and how the reclamation of these marginalized identities expand conversations around authenticity and narrow understandings of what constitutes cultural identity.Included are analysis of such texts as I Am Not Your Perfect Mexican Daughter, Shadowshaper, Swimming While Drowning, and others. Addressed in the essays are themes of outsiders in Chicanx/Latinx children's and young adult literature, and the contributors insist that to understand Latinx youth identities it is necessary to shed light on outsiders within an already marginalized ethnic group: nerds, goths, geeks, freaks, and others who might not fit within such Latinx popular cultural paradigms as the chola and cholo, identities that are ever-present in films, television, and the internet.

Contributions by Carolina Alonso, Elena Avilés, Trevor Boffone, Christi Cook, Ella Diaz, Amanda Ellis, Cristina Herrera, Guadalupe García McCall, Domino Renee Pérez, Adrianna M. Santos, Roxanne Schroeder-Arce, Lettycia Terrones, and Tim Wadham In Nerds, Goths, Geeks, and Freaks: Outsiders in Chicanx and Latinx Young Adult Literature, the outsider intersects with discussions of race, ethnicity, gender, and sexuality. The essays in this volume address questions of outsider identities and how these identities are shaped by mainstream myths around Chicanx and Latinx young people, particularly with the common stereotype of the struggling, underachieving inner-city teens.Contributors also grapple with how young adults reclaim what it means to be an outsider, weirdo, nerd, or goth, and how the reclamation of these marginalized identities expand conversations around authenticity and narrow understandings of what constitutes cultural identity.Included are analysis of such texts as I Am Not Your Perfect Mexican Daughter, Shadowshaper, Swimming While Drowning, and others. Addressed in the essays are themes of outsiders in Chicanx/Latinx children's and young adult literature, and the contributors insist that to understand Latinx youth identities it is necessary to shed light on outsiders within an already marginalized ethnic group: nerds, goths, geeks, freaks, and others who might not fit within such Latinx popular cultural paradigms as the chola and cholo, identities that are ever-present in films, television, and the internet.

Contributions by Frederick Luis Aldama, T. Jackie Cuevas, Alexander Lalama, Angel Daniel Matos, Regina Marie Mills, Joseph Miranda, Jesus Montaño, Domino Renee Perez, Regan Postma-Montaño, Cristina Rhodes, and Sonia Alejandra RodriguezAtravesados: Essays on Queer Latinx Young Adult Literature shows how Latinx queer YA writers discard the "same old story," and offer critical representations of queerness that broaden YA writing and insist on the presence of queer teens of color. Atravesados draws on foundational Chicana queer theorist Gloria Anzaldúa’s notion of "atravesados" to speak to the spectrum of queer youth Latinidades as they materialize in YA literature. Los atravesados, according to Anzaldúa, are "The squint-eyed, the perverse, the queer, the troublesome, the mongrel, the mulato, the half-breed, the half dead; in short, those who cross over, pass over, or through the confines of the ‘normal.’" Los atravesados reside in the borderlands space of ni de aquí ni de allá, neither here nor there, present yet liminal, their queerness the very source of both frustration and empowerment, a paradox of joy and tragedy. Although written in 1987, Anzaldúa’s theory speaks to the realities of queer Latinx teens that fill the pages of YA literature well into the twenty-first century. Characters such as Juliet from Gabby Rivera’s Juliet Takes a Breath, Aaron from Adam Silvera’s More Happy Than Not, or the titular Chulito from Charles Rice-Gonzales’s novel encompass the highs, lows, and everything in-betweenness of queer Latinx teen lived experiences. This collection tells their stories.Contributors speak to the spectrum of queer youth Latinidades as they materialize in YA literature, paying close attention to representation and the ways youth are portrayed—whether accurate or stereotypical. Close attention is paid to books that succeed in broadening the field of YA, highlighting authors that draw from their own lived experiences and situate strong, fully developed characters. Taken together, these essays move beyond the page, explaining to readers why representation and authenticity matter in YA literature, as well as the far-reaching effects they can have for real world queer Latinx teens.