Reports that Fierce!, formerly Queerfest, is an annual international festival that premieres cutting-edge live art from Europe, the U.S., and Russia at a variety of venues across the Midlands. Notes that Mark Ball, who has organized the festival since its inception, describes the aim of Fierce as presenting transgressive work that challenges sex-norms both in terms of its content and its form; and, while most of the work is by les/bi/gay-identified performers, Fierce is open to presenting any innovative and provocative live art about race/sex/gendered identities. Indicates that the 2001 program of 14 events kicked off with a launch party at Kudos in central Birmingham featuring "white trash" queen Tina C. Recalls other highlights of the event.
States that even by the time theater publicist and would-be historian Walter Macqueen-Pope was publishing his later volumes in the 1950s, the rise of academic theater scholarship was questioning such anecdotally based and unverified accounts of the theater and its past. Suggests that today, one can look at Macqueen-Pope, and at the period immediately before the First World War which was so often the focus of his attention, not so much for evidence of flawed scholarship as for his revealing attitude towards his subject and its social context. Concludes that while Macqueen-Pope may not tell the whole truth about his many subjects, such a "wistful remembrance" remains significant to any investigation of a theatrical past "that must always be a melting pot of imperfect recognitions and unattainable desires."
In this article Susan Oommen looks at the plays of the popular Indian dramatist Mahesh Dattani as conversations between the writer and his audience on models of reality, and interprets their performance as moments in subjectivization. In initiating an audience into redefining identity, she argues that Dattani provides the parameters within which problematizations may be reviewed and better understood. He also seeks to queer the debate on Indian middle-class morality, thereby challenging its privileged status and underscoring the interconnection between repression and invisibility. The question for the audience is whether Dattani's plays can cue them into experiences of resistance and encourage them to reinvent narratives that may then function as personal histories. One of the plays on which this article focuses, Dance Like a Man, was seen during this year's Edinburgh Festival as part of the Celebration of Indian Contemporary Performing Arts.