Drag (entertainment)

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    • Drag is a performance of exaggerated femininity, masculinity, or other forms of gender expression, usually for entertainment purposes. Drag usually involves cross-dressing. A drag queen is someone (usually male) who performs femininely and a drag king is someone (usually female) who performs masculinely. Performances often involve comedy, social satire, and at times political commentary.[1][2][3] The term may be used as a noun as in the expression in drag or as an adjective as in drag show.[4]

    Etymology

    Further information: Drag queen § Terminology, scope, and etymology
    Participants of the High Heel Drag Race in Washington, D.C.

    The use of "drag" in this sense appeared in print as early as 1870[5][6] but its origin is uncertain. One suggested etymological root is 19th-century theatre slang, from the sensation of long skirts trailing on the floor.[7] It may have been based on the term "grand rag" which was historically used for a masquerade ball.[8]

    In folk custom

    Men dressed as women have been featured in certain traditional customs for centuries. For example, the characters of some regional variants of the traditional mummers' play, which were traditionally always performed by men, include Besom Bet(ty); numerous variations on Bessy or Betsy; Bucksome Nell; Mrs Clagdarse; Dame Dolly; Dame Dorothy; Mrs Finney; Mrs Frail; and many others.[9]

    The variant performed around Plough Monday in Eastern England is known as the Plough Play[10] (also Wooing Play or Bridal Play)[11] and usually involves two female characters, the young "Lady Bright and Gay" and "Old Dame Jane" and a dispute about a bastard child.[12] A character called Bessy also accompanied the Plough Jags (also known as Plough Jacks, Plough Stots, Plough Bullocks, etc.) even in places where no play was performed: "she" was a man dressed in women's clothes, who carried a collecting box[10] for money and other largesse.

    "Maid Marian" of the Abbots Bromley Horn Dance is played by a man, and the Maid Marians referred to in old documents as having taken part in May Games and other festivals with Morris dancers would most probably also have been men. The "consort" of the Castleton Garland King was traditionally a man (until 1956, when a woman took over the role) and was originally simply referred to as "The Woman".[10]

    Theatre

    See also: History of cross-dressing § On stage and on the screen
    Broadway star Julian Eltinge, 1925

    Cross-dressing elements of performance traditions are a widespread and longstanding cultural phenomena.

    The ancient Roman playwright Plautus' (c. 254 – 184 BCE) Menaechmi includes a scene in which Menaechmus I puts on his wife's dress, then wears a cloak over it, intending to remove the dress from the house and deliver it to his mistress.[13][14][15] Menaechmus says: "Look at me. Do I look the part?" [Age me aspice. ecquid adsimulo similiter?] Peniculus responds: "What in the world have you got on?!" [Quis istest ornatus tuos?] Menaechmus says: "Tell me I am gorgeous." [Dic hominem lepidissimum esse me.][16][17]

    In England, actors in

    Epicœne, or The Silent Woman (1609). During the reign of Charles II of England (latter 1600s) the rules were relaxed to allow women to play female roles on the London stage, reflecting the French fashion, and the convention of men routinely playing female roles consequently disappeared.[19]

    In the 1890s the slapstick drag traditions of undergraduate productions (notably

    Mask and Wig Club), and many other universities in which women were not permitted admission, were permissible fare to the same upper-class American audiences that were scandalized to hear that in New York City, rouged young men in skirts were standing on tables to dance the can-can in Bowery dives like The Slide.[22]

    MC who had been introducing each of the evening's acts.[24][26][27]

    The plot device of the film

    Dick Whittington, is played by a girl or young woman, as well as in comedy troupes such as Monty Python's Flying Circus
    (formed in the early 1970s).

    Within the dramatic fiction, a

    en travesti; performing roles usually reserved to females, wearing tutus and dancing en pointe with considerable technical skill.[28]

    These conventions of male-dominated societies were largely unbroken before the 20th century, when rigid gender roles were undermined and began to dissolve. This evolution changed drag in the last decades of the 20th century. Among contemporary drag performers, the theatrical drag queen or street queen may at times be seen less as a "

    female impersonator" per se, but simply as a drag queen. Examples include The Cockettes, Danny La Rue or RuPaul
    .

    Ball culture

    Main article: Ball culture
    Contestant in a ball at the National Museum of African Art, 2016

    Ballroom culture (also known as "ball culture", and other names) is an underground

    houses", a longstanding tradition in LGBT communities, and racial minorities, where chosen families of friends live in households together, forming relationships and community to replace families of origin from which they may be estranged.[31][32]

    Ball culture first gained exposure to a mainstream audience in 1990 when its

    Madonna's song "Vogue", and in Jennie Livingston's documentary Paris is Burning the same year. Voguing is a highly stylized type of modern house dance that emerged in the 1980s and evolved out of 1960s ball culture in Harlem, New York.[33] In 2018, the American television series Pose showcased Harlem's ball culture scene of the 1980s and was nominated for numerous awards.[34]

    Opera

    In Baroque opera, where soprano roles for men were sung by

    Marriage of Figaro (1786).[36] Romantic opera continued the convention: there are trouser roles for women in drag in Rossini's Semiramide (Arsace), Donizetti's Rosamonda d'Inghilterra and Anna Bolena, Berlioz's Benvenuto Cellini, and even a page in Verdi's Don Carlo. The convention was beginning to die out with Siebel, the ingenuous youth in Charles Gounod's Faust (1859) and the gypsy boy Beppe in Mascagni's L'Amico Fritz, so that Offenbach gave the role of Cupid to a real boy in Orphée aux Enfers.[37] But Sarah Bernhardt played Hamlet in tights, giving French audiences a glimpse of Leg (the other in fact being a prosthesis) and Prince Orlovsky, who gives the ball in Die Fledermaus, is a mezzo-soprano, to somewhat androgynous effect. The use of travesti in Richard Strauss's Rosenkavalier (1912) is a special case, unusually subtle and evocative of its 18th-century setting, and should be discussed in detail at Der Rosenkavalier
    .

    Film and television

    Main article: Cross-dressing in film and television

    The self-consciously risqué bourgeois high jinks of Brandon Thomas' Charley's Aunt (London, 1892) were still viable theatre material in La Cage aux Folles (1978), which was remade, as The Birdcage, as late as 1996.

    Dame Edna in 2012

    Dame Edna,[38] the drag persona of Australian actor Barry Humphries, was the host of several specials, including The Dame Edna Experience. Dame Edna also toured internationally, playing to sell-out crowds, and appeared on TV's Ally McBeal. Dame Edna represented an anomalous example of the drag concept. Her earliest incarnation was unmistakably a man dressed (badly) as a suburban housewife. Edna's manner and appearance became so feminised and glamorised that even some of her TV show guests appear not to see that the Edna character was played by a man.[39] The furor surrounding Dame Edna's "advice" column in Vanity Fair magazine suggests that one of her harshest critics, actress Salma Hayek, was unaware Dame Edna was a female character played by a man.

    In 2009, RuPaul's Drag Race first premiered as a television show in the United States. The show has gained mainstream and global appeal, and it has exposed multiple generations of audiences to drag culture.[40]

    United States

    In the United States, early examples of drag clothing can be found in gold rush saloons of California. The Barbary Coast district of San Francisco was known for certain saloons, such as Dash, which attracted female impersonator patrons and workers.[41]

    William Dorsey Swann was the first person to call himself "queen of drag". He was a former slave, who was freed after the American Civil War, from Maryland. By the 1880s, he was organizing and hosting drag balls in Washington, D.C. The balls included folk dances, such as the cakewalk, and the male guests often dressed in female clothing.[42]

    In the early 20th century, drag—as an art form and culture—began to flourish with minstrel shows and vaudeville. Performers such as Julian Eltinge and Bothwell Browne were drag queens and vaudeville performers. The Progressive Era brought a decline in vaudeville entertainment, but drag culture began to grow in nightclubs and bars, such as Finnochio's Club and Black Cat Bar in San Francisco.[41]

    During this period, Hollywood films included examples of drag. While drag was often used as a last-resort tactic in situational farce (its only permissible format at the time), some films provided a more empathetic lens than others. In 1919, Bothwell Browne appeared in Yankee Doodle in Berlin.[43] In 1933, Viktor und Viktoria came out in Germany, which later inspired First a Girl (1935) in the United States.[44] That same year, Katharine Hepburn played a character who dressed as a male in Sylvia Scarlett.[45] In 1959, drag made a big Hollywood splash in Some Like It Hot (1959).[46][47]

    In the 1960s, Andy Warhol and his Factory scene included superstar drag queens, such as Candy Darling and Holly Woodlawn, both immortalized in the Lou Reed song "Walk on the Wild Side".[48]

    Examples of drag clothing provided and created by the performers themselves for an early Miami Beach version of Wild Side Story in 1973

    By the early 1970s, drag was influenced by the

    cult hit movie musical The Rocky Horror Picture Show (1975) inspired several generations of young people to attend performances in drag, although many of these fans would not call themselves drag queens or transvestites.[50]

    For many decades, American

    Gap Girls, among others). On the popular 1960s military sitcom, McHale's Navy, Ensign Parker (Tim Conway) sometimes had to dress in drag (often with hilarious results) whenever McHale and/or his crew had to disguise themselves in order to carry out their elaborate schemes. Gilligan's Island
    occasionally features men dressing in women's clothes, though this was not considered drag since it was not for a performance.

    On stage and screen, the actor-playwright-screenwriter-producer Tyler Perry has included his drag character of Madea in some of his most noted productions, such as the stage play Diary of a Mad Black Woman and the feature film he based upon it.[55]

    Maximilliana and RuPaul co-star together in the TV show Nash Bridges starring Don Johnson and Cheech Marin during the two-part episode "'Cuda Grace". Maximilliana, looking passable, leads one of the investigators to believe he is "real" and sexually advances only to learn that he is, in fact, male, much to his chagrin.[56]

    United Kingdom

    In the United Kingdom, drag has been more common in comedy, on both film and television.

    The Belles of St Trinian's (1954)[57] and Blue Murder at St Trinian's (1957).[58] He played the role straight; no direct joke about the actor's true gender is made. However, Miss Fritton is quite non-feminine in her pursuits of betting, drinking and smoking. The gag is that whilst her school sends out girls into a merciless world, it is the world that need beware. Despite this, or perhaps because of Sim's portrayal, subsequent films in the series went on to use actresses in the headmistress role (Dora Bryan and Sheila Hancock respectively). The 21st century re-boot of the series however reverted to drag, with Rupert Everett
    in the role.

    On television,

    The League of Gentlemen[59] often played female parts in their skits. The League of Gentlemen are also credited with the first ever portrayal of "nude drag", where a man playing a female character is shown naked but still with the appropriate female anatomy, like fake breasts and a merkin.[60]
    Within the conceit of the sketch/film, they are actually women: it is the audience who are in on the joke.

    Monty Python women, whom the troupe called

    Pharisee
    asks "who threw that", and they answer "she did, she did,..." in high voices. "Are there any women here today?" he says, "No no no" they say in gruff voices.

    In the 1970s the most familiar drag artist on British television was

    Sunday Night at the London Palladium. Such was his popularity that he made a film, Our Miss Fred (1972). Unlike the "St Trinians" films, the plot involved a man having to dress as a woman.[63]

    Little Britain; Walliams plays Emily Howard—a "rubbish transvestite", who makes an unconvincing woman.[64]

    In the UK, non-comedic representations of drag acts are less common, and usually a subsidiary feature of another story. A rare exception is the television play (1968) and film (1973) The Best Pair of Legs in the Business. In the film version Reg Varney plays a holiday camp comedian and drag artist whose marriage is failing.[65]

    Canada

    Early representations of drag in Canadian film included the 1971 film Fortune and Men's Eyes, adapted from a theatrical play by John Herbert,[66] and the 1974 film Once Upon a Time in the East, adapted from a theatrical play by Michel Tremblay.[67]

    The 1977 film Outrageous!, starring Canadian drag queen Craig Russell as a fictionalized version of himself, was an important milestone in Canadian film, as one of the first gay-themed films ever to receive widespread theatrical distribution in North America.[68] A sequel film, Too Outrageous!, was released in 1987.[69]

    In the 1980s, the sketch comedy series

    Scott Thompson of The Kids in the Hall and Greg Malone and Tommy Sexton of CODCO being important pioneers of gay representation on Canadian TV in their era.[71] The use of drag in CODCO also transitioned to a lesser extent into the new series This Hour Has 22 Minutes in the 1990s; although cross-gender performance is not as central to 22 Minutes as it was in CODCO, Cathy Jones and Mary Walsh, the two cast members common to both series, both continued to play selected male characters.[72]

    The Canadian film

    Genie Award for Best Picture.[74]

    The short-lived French-language sitcom

    Télévision de Radio-Canada, centred on three drag queens sharing ownership of a drag cabaret in Montreal.[75]

    In 2017

    CBC Gem in 2018, has profiled various Canadian drag performers, inclusive of all genders, over three seasons to date.[77]

    Canada's Drag Race, a Canadian spinoff of the American RuPaul's Drag Race franchise, was launched in 2020 on Crave.[78] The same year also saw the release of Phil Connell's film Jump, Darling, centred on a young aspiring drag queen,[79] and Thom Fitzgerald's film Stage Mother, about a religious woman who inherits her son's drag club after his death,[80] as well as the comedy web series Queens, starring several real Toronto-area drag queens.[81] 2023 saw the release of the films Enter the Drag Dragon,[82] Solo,[83] Gamodi[84] and Queen Tut.[85]

    OutTV, a Canadian television channel devoted to LGBTQ programming, has aired the documentary series Drag Heals[86] and the reality competition shows Call Me Mother[87] and Sew Fierce.[88] It has also been directly involved as a production partner in some programs filmed in the United States, including The Boulet Brothers' Dragula[89] and Hey Qween!
    .

    Music

    The world of

    Morocco.[91]

    In the

    The New York Dolls) donned partial or full drag.[92] This tradition waned somewhat in the late 1970s but was revived in the synth-pop era of the 1980s, as pop singers Boy George (of Culture Club), Pete Burns (of Dead or Alive), and Philip Oakey (of The Human League), frequently appeared in a sort of semi-drag, while female musicians of the era dabbled in their own form of androgyny, with performers like Annie Lennox
    , Phranc and The Bloods sometimes performing as drag kings.

    The male

    MadTV, The Tyra Banks Show, The Tom Joyner Show, America's Got Talent
    , and many others.

    In Japan there are several musicians in the visual kei scene, such as Mana (Moi dix Mois and Malice Mizer), Kaya (Schwarz Stein), Hizaki and Jasmine You (both Versailles), who always or usually appear in full or semi-drag.

    Drag kings and queens

    Further information:
    Faux queen, and Drag show
    Two drag queens with a woman (left) and a drag king (far right) in Wild Side Story in Los Angeles 1977

    A

    transsexuals or transgender
    people. Those who "perform drag" as comedy do so while wearing dramatically heavy and often elaborate makeup, wigs, and prosthetic devices (breasts) as part of the performance costume. Women who dress as men and perform as
    hypermasculine men are sometimes called drag kings
    ; however, drag king also has a much wider range of meanings. It is currently most often used to describe entertainment (singing or lip-synching) in which there is no necessarily firm correlation between a performer's deliberately macho onstage persona and offstage gender identity or sexual orientation, just as individuals assigned male at birth who do female drag for the stage may or may not identify as being either gay or female in their real-life personal identities.

    A

    bio queen,[95] or female-bodied queen, on the other hand, is usually a cisgender woman performing in the same context as traditional (men-as-women) drag and displaying such features as exaggerated hair and makeup (as an example, the performance of the actress and singer Lady Gaga during her first appearance in the 2018 film A Star is Born).[96]

    See also

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    Further reading
    Retrieved from "https://en.wikipedia.org/w/index.php?title=Drag_(entertainment)&oldid=1212564236"