This essay focuses on the Singapore performances of Ivan Heng and Chowee Leow’s An Occasional Orchid and Stella Kon’s Emily of Emerald Hill to query, first, the role of cross-dressing in the staging of the plays as a kind of feminist intervention and, second, the context of these performances as a conservative state’s engagement with globalization and artistic liberalization. The author’s interview with Heng, foregrounding the Britain-Singapore linkage, substantiates the essay’s analysis of Heng’s performances and illuminates in a different register the contradictions between liberatory and commodifying impulses and processes that trouble Heng’s praxis as cross-dressing performer.
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