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L’esthétique drag, de la performance travestie à l’art transgenre : usages et contre-usages de la théorie butlérienne

Abstract : In Gender Trouble (1990), Judith Butler asserts that drag demonstrates the imitative structure of gender. If, in the common sense, the drag is often connected with cross-dressed performance, we will go to see with Butler that it recovers a complex set of bodily practices (sexual roles, body modifications, etc.). Then, how was etablished the Butler’s theory? What is its influence on the artistic practicals and on the queer theories that succeed her, contributing indirectly (if not involuntarily) to the construction of a drag aesthetic which integrates the transgender? Firstly, we will see that Butler studies the drag performance through an anthropology of the female impersonators elaborated by Esther Newton (Mother Camp, 1972) as well as by criticism of the transgender in the films Paris is Burning (1991) and Boys don't cry (1999). We observe afterwards how, after Butler, Judith Halberstam interprets the drag kings, photographed by the artist Del LaGrace Volcano, as performances whom denaturalize gender and, sometimes, engage the body of the artist until the limit of the transgender. At last, by using the philosophy of Paul B. Preciado who theorizes his own testosterone "intoxication" (Testojunkie, 2008), we will discuss the transgender art like a biodrag aesthetic which literally incorpore the Butler’s theory, at the same time that she modifies it. Through these three moments, we would want to show how Butler’s theory produced a drag aesthetics constantly changing which is permeated with grand narratives of his time, but also evolves until overturn the speeches which partially engendered it
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Submitted on : Friday, March 30, 2018 - 9:53:51 AM
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Luc Schicharin. L’esthétique drag, de la performance travestie à l’art transgenre : usages et contre-usages de la théorie butlérienne. Art et histoire de l'art. Université de Lorraine, 2015. Français. ⟨NNT : 2015LORR0247⟩. ⟨tel-01754579⟩



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