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queer body in this work provides a core sample with which to examine the incorporation of queerness, futurism, and new media via theater performance. Solo Date has been praised for its critical interrogation of love and loss in an age of artificial

notion of performance, gender and sexuality are developed outside of the preexisting and confining categories of male and female heteropatriarchy. By breaking away from the biological categorization of gender and by including other sexualities within the

grouping of magic and motion pictures as cultural practices each occupied with illusion, performance, and disappearing bodies. In doing so, it sketches a discursive and conceptual terrain in which to understand how figural bodies were broadly considered and

in every direction like shivers through an immense body.” 18 Crucially, the vertiginous performances that appear (in a perceptually distorted manner) in the film are unmistakably intended to function as reflexive figurations of the filmmaker

(2009). In so doing Maurice raises questions about the film’s novel technique of performance capture in connection with its treatment of racialized characters, actors, and themes, above all the ways that Cameron’s claims for the film and the studio

day, however, with an extreme wide-angled view watching me watching it, there was to be no mastery in this all-too-fast performance. As I began to ride down the wave, it “closed out”—the whole face of the wave collapsed down all at once, creating a

Rebecca Schneider’s analysis of primitivism in performance, “it can be argued that I am not writing about race at all” (or childhood or animality); I am “in fact writing about those categories as haunting—the historical legacies of bodily markings as

counts of sexual assault. Alex Giegold and Tomka Weiß’s two-part project— Genital Call and Genitals on Trial 1 —is an audiovisual installation and performance that confronts the transphobia of the courts and the resulting discriminatory practices of

film Toxic (2012) by Pauline Boudry and Renate Lorenz. Image courtesy of the artists. In this performance of half-hearted rebellion, which in fact is a restaging of a filmed 1985 interview with gaymous French writer Jean Genet, the drag queen

of mirror. As it turns out, Lily was never there and Nina stabbed herself. Nina decides to dance a perfect black swan performance, while dying in the process. Thus, Black Swan participates in the representations of gendered violence in general, as