2 Replies to “Genre, Gender, Sexuality, Folklore, and Madness”

  1. In our conversation, we drew distinct and explicit relationships between gender and queerness; and folklore and madness. The dynamic we discussed concerning gender and queerness involved a method of artistic interpretation where one stays cognizant of gender while watching. That is to say, there is a gender-and-queer method of gazing at a movie, film, or performance art piece. In this discussion we established a queer piece of artwork does not have to have explicitly homosexual subject matter. It was here when I experienced my intellectual revelation for this week: that a performance can have queer overtones through sexual symbols, allegories, or power plays. For example, Don Quixote’s lance is phallic imagery, and him trying to stab someone with it is symbolically, subliminally queer. These more shaded overtones of queerness were necessary due to the emphasis on Catholicism in Spain at the time, which vehemently advocated for heteronormativity. Another example of queer art is in power plays, such as emasculating Don Juan, the famous lover. That also alludes to queerness in the drama.

  2. In various ways of form madness can be shown in when watching Film, Theater, and Performance Art. Madness would be not defined as a single phrase that could be explained but it comes to us in different meanings such as in the name of love, war, resistance, etc.
    By looking at the arts of different madness that is provided by people we, the audience, have a chance to peak into our inner desires (devil) with a guilty pleasure of having the actors act in our behalf. For example, Don Juan might be an ideal character to audiences that are striving to become an ideal ‘Muchacho’ who is surrounded by ‘Bonitas’. Hence forth I would conclude that acting creates paragons of our imagination with carefully calculated story lines which then transforms into a trend in society which people strive to become, ‘Heroes’.

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