By Angela Jones

This anthology is a symposium on queer house and queer utopias. during the presentation of empirical paintings by way of modern queer theorists this ebook goals to create a serious discussion concerning the emergence of queer areas and the ways that they target to extra queer futurity.

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Edward Isser, Stages of Annihilation: Theatrical Representations of the Holocaust (Teaneck: Fairleigh Dickinson University Press, 1997), 159. 76. Elinor Fuchs, “Theorizing the ‘Unmanageable,’” Review of Spectacular Suffering by Vivian M. Patraka, Theater (Fall 2000): 127. 77. , 127. 78. Sherman, Bent, 57–58. 79. Dolan, “Practicing Cultural Disruptions,” 345. 80. , 340. 3 Yet, not all warm glows are the same as the horizonal image that Mu ñoz uses; rather the glow from such utopic representations are not the refusal of the present, which is an index for Muñoz of a utopic impulse; rather they can be read as the warm glow of queer romance.

Noam does not see the hidden move by Ashraf. Now that “the live” has penetrated the fantasy, the men are disconnected. ”71 Statements against Sherman’s dramatization stemmed from discomfort with the play’s perceived hierarchy of Holocaust victims, in which the suffering of gays in concentration camps is represented as worse than the suffering of Jews. Critics point to the plot: Max secures a Jewish star by “passing” as heterosexual in a vicious performance. 5 Ashraf (Yousef Sweid) and the secret gesture borrowed from Bent, in The Bubble.

These dynamic accounts of performances of Bent in the Israeli press lead to competing conclusions about the theater scene in The Bubble. First, it is possible to read The Bubble’s inclusion of a “live” moment as an allusion to the visceral “Truth” of the Shoah’s signification, its intense raw historicity. The alternative perspective on Bent’s realism in The Bubble is suspicious of the filmic critique of hypertheatrical national narratives. Either way, the artifice of the theater and the apparatus of the stage are on display.

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