Drag Queen Intertextuality Essay Example

19th, and early 20th centuries, with future sexuality being free and uninhibited (Faculty, 1978). The art of drag takes this repression and turns it on its head, proactively constructing new identities that range from convincing female look-alikes to crude caricatures that challenge the binary definitions of male and female gender roles.The humor in cross dressing can come from either convincingly portraying a woman or from an outlandish performance. Connotations associated with cross dressing, such as ill-fitting feminine clothes, poorly done makeup, or a wig falling off, can also be humorous. Drag challenges repressive attitudes towards sexuality by combining both intellectual and Faculty's ideas in an extreme manner. Newton's description of drag mirrors Butler's theories about gender and sex, which suggest that gender is not innate but performed. According to Butler, identity must be embodied to be understood rather than being an inner identity performed by the body. Overall, drag is a double inversion that exposes the illusion of appearance and challenges societal norms.Although typically associated with male performers for entertainment purposes, drag performances challenge societal norms around identity and gender. Drag artists often personify the views of philosopher Judith Butler, pushing boundaries and conveying a message through extravagant performances. To fully understand drag, it must be viewed within a cultural context that references established ideals of masculinity, femininity, pop culture, and Western culture. Western society's tendency to condense gender into extreme representations portrayed in the media is particularly relevant. Audiences are generally aware of the artifice of a man performing as a woman for entertainment purposes, which speaks to the broader cultural identity shared by performers and their viewers.

The cultural context of drag includes

a concept of hyper-reality, providing a safe environment for individuals to express views and interests considered taboo in regular settings. Performances allow individuals to construct entirely new identities for a short time span, such as a few hours or the night. The gender bending during a drag act coincides with the context of the performance, giving individuals a secure space to express themselves. This gender interplay is comparable to the gender ambiguity of Boy George and Madonna's Vogue performances from the 80s. These connotations complement drag performances and enhance the hyper-real environment. The concept of hyper-reality also applies to the Ladybugs of Bangkok performances, where men with physical enhancements perform as glamorous women to the amazement of global audiences. Although titled as drag performances, the acts are often so believable that audiences are left confused.

By not focusing on humor, the 'Ladybugs of Bangkok' are breaking from the typical drag performance narrative which consists of comedy routines and/or lip-sync performances to musical numbers that rely on costumes and wigs to communicate their message. These regularities establish a shared meaning between performer and audience, but the Ladybugs challenge these expectations by pushing the boundaries of drag. According to Mann (2011), there are two types of drag queens: the hostess and the performer. The hostess usually has a more exaggerated appearance and tells jokes between acts, while the performer tries to pass as the artist they are imitating on stage.

The article provides additional proof of the intellectuality inherent in various types of drag queens, where more exaggerated and extreme appearances are linked to the comedic performances of hostesses, rather than representing a feminine aesthetic embraced by

performers. Rueful, one of the most famous drag queens in the world, is discussed by Eschew (2009) for his work referencing iconic supermodels and Barbie dolls. By donning towering heels, corsets that cinch his waist, and large blonde wigs and corsets to enhance his female form, Rueful draws upon familiar and iconic female representations in the media. Through this pastiche approach, Rueful seeks to convey a convincing feminine persona without becoming a mere imitation of either Barbie or a supermodel. Given that these figures are widely recognized and palpable in daily life, it is likely that his audience shares in these referential nods to popular culture.In Rueful's drag performances, references are made to hyper-reality in relation to both Barbie dolls and supermodels. This includes unrealistic expectations of the female form, such as tiny waist measurements, very long legs, and over accentuated hips and bust. Rueful uses these elements to shock and entertain audiences while pushing boundaries in a similar fashion to 'Ladybugs of Bangkok'. However, individuals may have varying intellectual references when it comes to drag queens, particularly Rueful. Some may associate Rueful with the LAST community while others may recognize him from his television appearances, music or advertising with MAC Cosmetics. Additionally, not all audiences will understand references made to supermodels through clothing or styling. Despite this lack of understanding, Rueful's drag performances, similar to other texts, maintain layers of references to other texts that contribute to their meanings. 'Rupture's Drag Race', an intellectual and narrative-based show hosted by Rueful carries its own unique themes and interpretations.Rupture's Drag Race is a popular reality TV show that chronicles Rupture's quest to find America's Next Drag

Top Superstar. The show incorporates elements and tasks from other reality TV series, such as 'America's Next Top Model' and 'Project Runway'. The goal of 'America's Next Top Model' is to find a supermodel to represent the well-known makeup brand 'Coverall'. The theme song for Rupture's Drag Race is Rueful's single 'Coverall', which plays as the contestants walk down the runway each week. Contestants frequently reference the other shows and make playful jabs at them, and it can be suggested that the success of Rupture's Drag Race is largely due to its pastiche style which emulates the structure, judges, and challenges of its predecessors. The show also heavily borrows from the 1990 film 'Paris is Burning', which explores the ball scene culture in Harlem, New York. Rupture often quotes memorable lines from this movie, and the show's language is influenced by it as well. This referencing is done respectfully and tastefully, and drag is presented in a fun-loving manner on the show.The movie serves as a reference point for Rueful, allowing him to replicate its success and establish Rupture's Drag Race as a cultural phenomenon. This highlights Rueful as an informed drag queen and the ultimate performer, setting him apart from others. The scope of drag as an art form lends itself to intellectuality, with performers often imitating other acts, artists, and icons in their performances. According to Serviette's axis theory, performers referencing other acts could be placed on the vertical axis, connecting texts to other texts. The connection between intellectuality and success in drag relies on both the performer's reference points and their ability to connect with an audience on a horizontal axis, further

emphasizing the importance of intellectuality in this art form.