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Recommended: Lgbt media portrayal
John Dionisio
Theater 300
Kevin Slay
15 March 2018
Terrence McNally
This week, I was able to learn more about the LGBT community through understanding LGBT media and theater. Over the past century, many Gay playwrights like Terrence McNally, inspire their audience members through portraying their LGBT identity on televised shows and movies. Over the past years, the LGBT community has been oppressed and ostracized by other people. The LGBT community was often criticized for so many social issues in the past century. Many people in the LGBT community fought for certain rights, such as same-sex marriage, civil unions, medical hormone replacements, and many other rights. Over time the LGBT community has expanded their ideas through theater arts. Thus, in this assignment, I will provide a brief evaluation the history and personal background of LGBT playwright named Terrence McNally. By evaluating McNally’s background, we will be able to familiarize ourselves with the perspective of an LGBT individual in television.
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McNally was raised in Corpus Christi, Texas. In his early life, he found his passion in acting and theater arts when he saw a Broadway production called Annie Get Your Gun in 1946 starring Ethan Merman. From there, McNally decided to pursue a degree in English at Columbia University. McNally spent most of his early college life helping Nobel prize winner John Ernst Steinbeck Jr. Through hard work and dedication, McNally drafted his first theater performance called And Things That Go Bump in the Night. His theater performance premiered at the Royale Theatre in New York City, New York. Eventually, McNally decided to pursue a career in theater arts later in his
Sex and Gender was the subject of the two movies Dreamworlds 3 and Further Off The Straight & Narrow. In Dreamworlds 3 Sex is portrayed as a status of life and happiness in the media. This media displays people as objects that can be manipulated for sexual pleasure. As the media is populated with sex it tiptoes around gender, specifically that of gays or lesbians. The film Further Off The Straight & Narrow emphasized the movement through media gay and lesbian topics. This text analyzes iconic television programs and how they reflect the societal stance during that time. As a member of a generation that has had the topic of these issues prominent I believe they are important but are banal. In this reflection I will be responding to two questions, what would woman driven Dreamworlds look like? And Do you agree with the statement that if you are not on television you don’t exist?
According to Sherrie A. Inness, “The Captive was hauled by critics as the first play on the American stage to deal openly with what one reviewer called a “repulsive abnormality.” Ten years prior, God of Vengeance was scorned for offending rabbis, Jewish men and women’s religion and abusing the significance of the Torah. Critics and reviews failed to deliver their remarks on the intimate lesbian love, but in The Captive, the lesbian undertones are concealed and carried out in a strategic fashion, yet these moments were censored and triggered. Due to these moments where the acts of lesbianism were not apparent, it was deemed with obscurity, causing the play to fall short overall. Similar to God of Vengeance, The Captive was confronted with “obscenity charges in the United States, and after a run of less than five months, the play was raided and closed down by police” (Inness 304). With this framework in mind, my case study is not diminished by the greater public opinion, rather Edouard Bourdet’s strategic approach to lesbianism and the way in which is portrayed in society juxtaposed the emergence of lesbianism in the United States in the early part of the twentieth
Furthermore, a few of his plays are written about drag queens and others about being gay. Mr. Fierstein grew up in a time when being gay was a very hard lifestyle to be open about. Over the decades the support group lesbian, gay, bisexual, and transgender community or better known as LGBT, has supported the mass movement worldwide. Mr. Fierstein set out to illustrate to the world that it is ok to be yourself and that the LGBT community will not accept any more bigotry. His plays focus on the hardships faced by the oppressed and the tyrants.
Butler, Judith. "Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory." Theatre Journal 40.4 (1988): 519-31. The Johns Hopkins University Press. Web. 11 May 2011.
“What’s ruining television today are those big productions – It’s the fairies who are going to ruin show business.” For some, this quote from The Jack Paar Show may seem unsettling. In the midst of a Supreme Court that has recently extended even more rights to a community so harshly oppressed, it is shocking to think that just fifty years ago, thoughts like this represented the majority opinion. The evolution of homosexuality in television has seen tremendous leaps and countless obstacles; yet what has emerged in the wake of it all is a form of media that has drastically impacted discourse surrounding gay men. This analysis aims to discuss the show Glee, as well as the key aspects of homosexuality that are portrayed. It will examine the characters
After their inception, the Vagina Monologues became an edgy, provocative show that pushed the limits of what was then considered acceptable when speaking publicly about female sexuality. Some of the testimonials included in the production were humorous; others graceful and classy, and a few were brutally honest and deeply emotional. The...
Butler, Judith. Ed. Case, Sue-Ellen. "Performative Acts and Gender Constitution." Performing Feminisms: Feminist Critical Theory and Theatre. Baltimore: The Johns Hopkins University Press, 1990.
Media is changing and there is gradually more positive and highly visible LGBT (lesbian, gay, bisexual, and transgender) role models. I will let the kids recognize some LGBT role models through the media, such as video, newspaper and magazine. I will introduce LGBT role models and explain why they will do so. I will also answer their continuous questions as they must feel curious and strange to these LGBT role models.
The depiction of transgender women characters in mainstream television has been offensive, insulting and derogatory. An article from GLADD called “Victims or Villains: Examining Ten Years of Transgender Images on Television”, examines 102 episodes and storylines on mainstream television that contained transgender characters since 2002. Of these, more than half were characterized as containing negative representations of transgender. In 2007 only 1% of television series had a recurring transgender character, which has slowly increased to 4% in 2013.
When television first appeared back in the 1940's, times were very different. What we would consider completely normal today would have seemed quite taboo just a few decades ago. For example, in 1953, Lucille Ball was not allowed to say the word "pregnant" while she was expecting baby Ricky and it wasn't until the 1960's show Bewitched, that we saw a married couple actually sharing the same bed. Considering how conservative the television networks were back then, it is not hard to deduce that something as controversial as homosexuality would be far from discussed or portrayed at any level. It was only in 1973 that television premiered its first homosexual character. Over the next three decades the emergence of gay and lesbian characters in television has increased and decreased as the times have changed. Due to the resurgence of conservatism that came back in the early 1980's, homosexual topics were again reduced to a minimum. Since that time though, as many people can see, there has been a rise of gay and lesbian characters on television. One might think after a first glance at the previous sentence that there has been progress among gay and lesbian communities to have a fair representation in the media. However, if one looks hard at the circumstances surrounding their portrayal, many people may start to believe that if there has been any progress then it has been quite minimal.
As a white, homosexual, upper class, female spectator, I am an oppressor in my whiteness and class but am oppressed through my “alternative” sexuality and through my gender. Addressing and recognizing my own personal identity as oppressor but also the oppressed helps me to examine these four plays, China Doll, Sex Kitty, Snake Oil Show, and Spell #7 in terms of representation of identity through performance. I am analyzing how these women playwrights configure identity for themselves and the audience by observing the similarities in form and content within these texts. A shared theme in these works is to move away from and/or deconstruct a universal, ideal spectator’s lens through personal experiences.
It’s safe to say that Kushner’s “Angels in America”, is one of the most famous plays to explore the topic of homosexuality. Joe 's character represents
“Plague! We are in the middle of a fucking plague! 40 million infected people is a fucking plague!’ Larry Kramer’s words rang across the room in a meeting for AIDS in 1990, 9 years into the US AIDS crisis. Before the epidemic Kramer was a gay playwright in New York born on June 25th, 1935 in Bridgeport, Connecticut. Larry’s father was always disapproving of his interests in musicals and more “feminine” activities. In 1953, he attended Yale University, where he began to fall apart. His grades were failing and he found no others like him. The only thing that saved him from his attempted suicide was his brother. Later in life, he began working as a script writer for movies. One movie of his, Lost Horizon, was a commercial success but received extremely poor reviews. This was a signal for him to quit movie writing, and he began writing books and plays. Kramer’s breakout book was the novel “Faggots”. It was a critique on the lifestyle of gay men in the 70s and was quite controversial. “Read anything by Kramer closely, and I think you’ll find the subtext is always: The wages of gay sin are death,” said Robert Chesley, a gay playwright critiquing Larry Kramer.
The Laramie Project is a significant play of the 20th century due to the way that it uses the innovative performance style of verbatim theatre to reveal underlying homophobic attitudes in America and to encourage the audience to be more tolerant and accepting of minorities. The play is used as a vehicle for discussion to engage the audience to explore this social issue and encouraged them reflect on their own bias regarding tolerance and acceptance of homosexuals. This play emerged in a context of opposing cultural attitudes in America. The Gay Liberation Movement of the 1970’s and 1980’s conflicted with very conservative and religious attitudes in America, which was heightened by the AIDs crisis in the 1980’s
Adam Sharpiro, Megan Schultz, Christina Roush, Cassandra Schofar, Emily Shilling, Tawnia Simpson, Natalie Sampiller. Portrayal of Homosexuality in Media. 26 March 2014 .