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Straight white male : performance art monologues

Author: Michael Peterson
Publisher: Jackson : University Press of Mississippi, ©1997.
Series: Performance studies (Jackson, Miss.)
Edition/Format:   Print book : EnglishView all editions and formats
Database:WorldCat
Summary:
Mass media images of the male are central to popular culture. This book analyzes a genre known as "performance art monologues" as presented by white heterosexual men. Its focus is stand-up comedians and stage and screen artists, including Spalding Gray, Eric Bogosian, Josh Kornbluth, Rob Becker, Andrew Dice Clay, Wallace Shawn, and Danny Hoch, whose acts portray and investigate power, politics, privilege, and
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Additional Physical Format: Online version:
Peterson, Michael, 1964-
Straight white male.
Jackson : University Press of Mississippi, ©1997
(OCoLC)605261347
Document Type: Book
All Authors / Contributors: Michael Peterson
ISBN: 0878059776 9780878059775 0878059784 9780878059782
OCLC Number: 36159667
Description: ix, 222 pages : illustrations ; 24 cm.
Contents: The artist present in the work --
Monologue culture --
Loss as a means of mastery : Spalding Gray's autobiographical performance --
Uncanny resemblance : Eric Bogosian's multiple-character performance --
Performing identity privilege --
The universal, the essential, the particular, the political.
Series Title: Performance studies (Jackson, Miss.)
Responsibility: Michael Peterson.

Abstract:

Mass media images of the male are central to popular culture. This book analyzes a genre known as "performance art monologues" as presented by white heterosexual men. Its focus is stand-up comedians and stage and screen artists, including Spalding Gray, Eric Bogosian, Josh Kornbluth, Rob Becker, Andrew Dice Clay, Wallace Shawn, and Danny Hoch, whose acts portray and investigate power, politics, privilege, and community. This fascinating examination connects performance studies with the monologue traditions in theater history, with such contemporary cultural activities as the men's movement, and with the current interest in queer theory and gender studies.

Acknowledging the complex politics of all performance, whether avant-garde or popular, this first book-length critique of heterosexuality, masculinity, and whiteness in solo performance asserts that straight white male monologues create an illusion of community rather than engaging with the politics of identity as a social fact.

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