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利用者:Kawabatayasunari/sandbox

All The Kings Men—a drag king performance troupe from Boston, MA.
舞台や映画でも活躍するニューヨークベースのドラァグクイーン、ムレイ ヒル

ドラァグキング（英: drag king [1]）は、主に男性の姿に異性装した女性パフォーマーのことであり、舞台の個人ないし団体パートにおいて男性のジェンダー的ステレオタイプを表現する[2]。ふつうドラァグキングのショーは、ダンス、芝居、スタンダップ・コメディ、歌（事前に録音した曲に口をあわせることもある）などを取り入れている[3]。そして彼女たちは誇張されたマッチョな男性像を演じることで、建設作業員やラッパーなど社会の周縁にいる男性を表現するだけでなく[4]、エルヴィス・プレスリーやマイケル・ジャクソン、ティム・マグロウなどの男性有名人の役に扮することもする[5]。

1890年代から1900年代前半には、何人ものドラァグキングがイギリスのミュージックホールのスターとして誕生し、イギリスにおけるパントマイムは男性の役を女性が演じることが伝統にさえなった。1990年代半ば頃からドラァグ・キングは有名になり、ドラァグクイーンがかつてそうであったような注目を浴びるようになった[6][7]。

歴史

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ドラァグキングという言葉が初めて活字に現れるのは1972年のことだが[8]、男性の衣装をした女性の演者という図式には長い歴史がある。例えば劇場やオペラには、「ズボン役」、「トラベスチ」という伝統的な役柄があった[9]。女優で劇作家のスザンナ・セントリーヴァがズボン役であったのは1700年頃である[10]。アメリカの劇場では、男役を演じて初めて人気になったのは、1867年にニューヨークでキャリアをスタートしたアニー･ヒンドルである（彼女はその前年に自分の着付師アニー・リャンと結婚している[11]）[12]。イギリスのミュージックホールであれば、ベスタ・ティリーが19世紀の後半から20世紀初めまで、男役として活躍した[13]。ほかにイギリスの舞台にたった男役として、エラ・シールズ、ヘティー・キングがいる[14]。ブルース歌手のグラディス・ベントレーは、1920年代から40年代にかけてニューヨーク、ロサンゼルス、サンフランシスコで男役を演じた[15]。ストーム・デラヴィエ(Stormé DeLarverie ) は、1950年代から60年代のジュエルボックス・レヴューで女性のドラァグとともに男役で舞台にたった（その姿はドキュメンタリー映画『Storme: The Lady of the Jewel Box 』にも描かれている）[16]。デラヴィエはストーンウォールの反乱の経験者でもあった[17]。

ドラァグキングという言葉はより広い意味でも使われることがある。女性の身体をもった人間が、パフォーマンスアート以外の目的から伝統的な男性の衣装を身につけることがあるからである。例えば女性が一時的に男性としてその場をやりすごしたり、男性とはっきりみなされることなく、しかし力強い男らしいジェンダーを担いたいときがある。ダイアナ・トールは1989年にドラァグキングのワークショップを主催し、女性たちに自らを男性として通すためのレッスンを行った[18][19]。

現代では、ファッションの一環としてメンズの帽子やタイ、ジャケットを身につけ、さらには上下のスーツさえ着こなすが、こういった女性がドラァグキングと見なされることはない。

特徴

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「Drag king#Drag king groups」および「Drag king#International Drag King Community Extravaganza」も参照

ドラァグクイーンが自らに名前をつけ一族となるのを誇りにしているのに対し、ドラァグキングは一座やパフォーマンス集団を構成し活動することが多い。またドラァグクイーンのように家庭の中でその人格を維持することはほとんどない。多くの場合、パフォーマンスやショーを行うチームとして一座が結成される。

Drag king character Macho (far right) in the "America" number of Wild Side Story in Los Angeles in 1977.

Drag kings are mostly female performance artists who dress in masculine drag and personify male gender stereotypes as part of an individual or group routine.[20] They may be lesbian, bisexual, transgender, genderqueer, or otherwise part of the LGBT community. A typical drag show may incorporate dancing, acting, stand-up comedy, and singing, either live or lip-synching to pre-recorded tracks.[21] Drag kings often perform as exaggeratedly macho male characters,[22] portray marginalized masculinities such as construction workers, rappers, or they will impersonate male celebrities like Elvis Presley, Michael Jackson, and Tim McGraw.[23]

In the late 1800s and early 1900s, several drag kings became British music hall stars, and British pantomime has preserved the tradition of women performing in male roles. Starting in the mid-1990s, drag kings started to gain some of the fame and attention that drag queens have known.[24][25]

History and terminology

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1907 sheet music cover of "I'm Afraid to Come Home in the Dark" featuring singer and male impersonator Hetty King

While the term drag king was first cited in print in 1972,[26] there is a longer history of female performers dressing in male attire. In theatre and opera there was a tradition of breeches roles and en travesti.[27] Actress and playwright Susanna Centlivre appeared in breeches roles around 1700.[28] The first popular male impersonator in U.S. theater was Annie Hindle, who started performing in New York in 1867;[29] in 1886 she married her dresser, Annie Ryan.[30] British music hall performer Vesta Tilley was active in the late 19th and early 20th centuries as a male impersonator.[31] Other male impersonators on the British stage were Ella Shields and Hetty King.[32] Blues singer Gladys Bentley performed in male attire in New York, Los Angeles and San Francisco from the 1920s through 1940s.[33] Stormé DeLarverie performed in male drag along with female impersonators at the Jewel Box Revue in the 1950s and 1960s, as documented in the film Storme: The Lady of the Jewel Box;[34] DeLarverie was also a veteran of the Stonewall riots.[35]

The term drag king is sometimes used in a broader sense, to include female-bodied people who dress in traditionally masculine clothing for other reasons. This usage includes women temporarily attempting to pass as men and women who wish to present themselves in a masculine gender role without identifying as a man. Diane Torr began leading Drag King Workshops in 1989 that offer women a lesson in passing as men.[36][37] Torr was featured in the 2002 film on drag kings Venus Boyz.[38] Many modern women wear men's hats, ties, jackets, or even full suits for fashion reasons (e.g. the "Annie Hall style"). These women are not considered drag kings.

特徴

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→「Drag king § Drag king groups」、および「Drag king § International Drag King Community Extravaganza」も参照

ドラァグクイーンが自らに名前をつけ一族となるのを誇りにしているのに対し、ドラァグキングは一座やパフォーマンス集団を構成し活動することが多い。また、ドラァグクイーンのように家庭の中でその人格を維持することはほとんどない。Unlike drag queens, who pride themselves on making individual names for themselves and creating a "lineage," drag kings tend to form troupes or performance groups. While they may join houses and maintain a solo persona, this is increasingly rare in the drag king community. Many troupes are created out of the desire to forge a cohesive unit in order to book shows and performances. However, there are more and more drag kings now branching away from the troupe stereotypes, and performing individually. Drag king shows are becoming easier to find in this century and individual kings are getting bookings outside of the 'king shows' and finally sharing the stages with their male counterparts, the queens.

Drag kings are largely a phenomenon of lesbian culture and can most often be seen at lesbian bars or festivals. However, not all drag kings are lesbians, and some participants in the drag king subculture are not otherwise involved in lesbian culture, society, or politics. Drag kings are a diverse group, making difficult to find something universal that all drag kings have in common. By performing masculinity on the non-cisgender male body, these performers are resisting society's notions of the gender binary.[39] Some transmen also self-identify as drag kings. Faux queens (also called femme queens, femme performers, bio queens or Kittens) often perform alongside drag kings and may or may not be lesbian-identified.

A British lesbian cabaret organization called Lesburlesque made it part of their mission to promote drag kings on the wider British cabaret circuit. Their founder Pixie Truffle gave an interview to the Guardian newspaper in the United Kingdom on her desire for drag kings to close the gap with queens and with male stand-up comedians.[40]

Similar to some drag queens who prefer to be seen as actors—like Justin Bond and Lypsinka—some drag kings prefer not to be pigeon-holed by the drag king label. "I think when people assume that somebody is queer, or different, or trans, they always want to put something before their name," said Murray Hill in an interview. "And that is what drag king has been. Why can't you just call me a comedian like Jerry Seinfeld is called a comedian?"[41]

The International Drag King Community Extravaganza (IDKE) is the largest yearly gatherings of drag performers aimed at celebrating gender performance and exploration of gender issues, now in its ninth year. Delegates from various troupes throughout America, Canada and Europe congregate at IDKE to perform and engage in discussion and debate at a series of workshops organized by the host city under the guidance of the IDKE Board. A different city hosts this event each year, selected by the board. It is city's responsibility to create a website.

Murray Hill, New York City comedian and downtown performance artist.
ウィキニュースに関連記事があります。

The oldest and possibly largest drag king contest in the world takes place in San Francisco, California. The San Francisco Drag King Contest has been called "A parade of gender-bending eye candy" by SF Weekly and the producer of the show is community activist and performer Lu Read, a.k.a. Fudgie Frottage. The SFDK has the fortunate luck to have the Drag King Sensations, Momma's Boyz, perform every year while judges deliberate. The Momma's Boyz always ensure they are not on the road at that time so they can donate their talent to this critical event. Another yearly gathering was the now defunct, or at least temporarily so, The Great Big International Drag King Show in Washington, D.C., created by Ken Vegas, who is also founder of the DC Kings.

In recent years, some drag king performers have adopted other terms to describe their own performance styles, particularly if they deviate from the more traditional forms of "kinging." Common names include "gender blurring" acknowledge the merging of both male and female traits in the performances while Vancouver performer Rose Butch adopted the ambiguous label "drag thing."[42] Long-time performer Flare called the stage of drag king styles that emerged in Toronto's scene in the mid-2010s as "unicorn drag."[42]

Drag king names

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Drag kings often take on playful names to reflect their stage personas. Sexual based names like "Smack Diaz" are common, as are general macho names like "Stanley Knife" and "Razor Blade." Similar to practices of drag queens joining "houses", kings will often join "troupes," practicing, performing and traveling together and even taking on a common last name.

Some drag kings have become popular performers in the LGBT community especially among lesbians who admired the DIY bravado of reclaiming male and female gender roles. Some of these names have become Cornerstones in the King community, including Mo B. Dick, Gage Gatlyn, Murray Hill, Ian Blakk, Anson Reign, Damian Matrix, Owen McCord, Xander Kinidy, Remington Steal, Flare, Freddy Prinze Charming, Amadeus Karmani York, Richard Cranium, Gunner Gatlyn, Dred, Will Ryder, Buck Naked, Spikey Van Dykey, JC ALL-Cox the acronym of his given drag name JC Alexander Lane Leigh-Cox.[43]

Tools of gender illusion

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→詳細は「Methods of passing as male」を参照

Drag kings face similar challenges of drag queens in creating gender illusion, costuming and performance. They generally must hide their breasts, add the illusion of male genitalia and mitigate feminine features to appear more masculine. Clothing is usually the easiest change to make with the phrase "clothes maketh the man" taking on extra layer of meaning.

  • Breast binding:

Hiding one's breasts is likely the most challenging piece of the gender illusion puzzle for a drag king. While some are small-breasted and may succeed using a tight sports bra, many kings resort to one of the following, or several of the following used in conjunction with other methods: Ace bandages; duct tape; soft, hard, or ribbed back braces (worn backwards); and compression shirts and vests. Some use a method involving cutting a hole in the crotch of pantyhose for the head and making sleeves out the legs.[44] This creates a tight stocking shirt that compresses the breasts. Duct tape is the most skin damaging method of binding. Prolonged use has resulted, in some cases, of tearing off skin and excessive blister after removal, or stretching of the breast tissue and skin after long-term use. Another damaging binding technique, but more immediately so, is the use of cling wrap. This method has caused Kings to fall unconscious while performing.

  • Facial hair:
Valentino King, a British drag king, uses a mustache, goatee, and sideburns to add to her gender illusion.

While some female-to-male (FtM) transgender performers may have growth of facial hair from hormones, many drag kings find that creating facial hair aids as a visual cue of gender illusion. Men usually have coarse-textured facial hair that begins at the top of the jaw bone where a beard would start. Beard hair is noticeably different in texture compared with the hair on their heads. Drag kings use various cosmetic shadowing, loose hair and piece applications to imitate a mustache, beard, goatee, sideburns or other hair application. There are many drag kings who utilize shadow makeup to create the illusion of "five o' clock shadow" and forgo the look of longer facial hair, sometimes out of simplicity or as a stylistic choice depending on the character they are performing.

トランスジェンダー関連のアウトライン
トランスジェンダー
     
ジェンダー・アイデンティティ
理論・概念
歴史（英語版）
医療（英語版）
差別・暴力
権利・法律
社会・文化
国別
関連項目
ポータルアイコン LGBTポータル

The application of loose hair using an adhesive is done by obtaining hair through their own haircuts or purchase braids of synthetic hair in a variety of colors from costume shops. Once the hair is chopped very finely, it is typically applied using a skin-safe adhesive like spirit gum or liquid latex, also available at costume shops. Using liquid latex creates a facial hairpiece that can be removed and re-used and is considered a better choice for those with very sensitive skin that does not tolerate spirit gum or spirit gum-removal chemicals well.

Another method of applying hair is using a woven facial hairpiece provided by skilled artisans that often supply costume shops. Far superior in look and feel to mass-produced costume mustaches found in party supply stores, professionally created pieces are typically made from real hair and are woven onto a thin netting that is attached to the face using spirit gum or liquid latex. They are usually more expensive than those found at party stores, but they create a more realistic effect.

  • Eyebrows:

Eyebrows are usually thickened using eye shadow, eye liner pencils, or mascara, since women's eyebrows tend to be thinner and less substantial in general than men's. A slightly darker face powder or bronzer creates this illusion with much subtlety when applied correctly. Additionally, sideburns must be considered.

  • Hair:

Masking feminine features includes dealing with hairstyle. While many drag kings have short hair, some performers that live their everyday lives with longer hair or feminine haircuts must manage this part of their appearance to make the illusion complete. While some performers with long hair opt to leave it down and styled in a masculine way, others tuck their hair into stocking caps and wear a variety of men's hats as part of their costumes.

  • Performing masculinity:

A challenge in creating the female to male gender illusion is the masking of feminine features and movements. Women move differently from men in general, perhaps due to social programming or the different pelvic shapes, and resulting differences in the angle of the thigh bones. The stereotypical portrayal of a man utilizes masculine gesture and motion, crisp movements and dance. Contrast to drag queens, who may display smooth, sweeping motions while portraying women.

See also

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References

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  1. ^ 表記について、野宮アキ，東優子 「性同一性障害、トランスセクシュアル、トランスジェンダーに関する用語集」Trans-Net Japan（TSとTGを支える人々の会）. http://www.tnjapan.com/data/term.htm 1998年7月12日更新　2012年10月22日閲覧。他の用例として、「言語芸術論2：ドラァグ・キング論」東京大学　学部横断型教育プログラム　バリアフリー教育プログラム／東京大学大学院教育学研究科附属 バリアフリー教育開発研究センター. http://www.p.u-tokyo.ac.jp/cbfe/cdp/03_syllabus/2012/2012-08C1120.html 2012年10月22日閲覧。ドラァグクイーン#表記も参照
  2. ^ Aronoff, Jen (2005年10月19日). “Competitive Drag Kings Strut Stuff: With some spit and polish, women perform in growing world of cross-dressing pageantry”. The University of South Carolina Daily Gamecock. 2007年10月16日時点のオリジナルよりアーカイブ。2007年7月29日閲覧。
  3. ^ Dujour, Dick (2006年8月24日). “Drag King Contest”. San Francisco Bay Times. 2007年7月29日閲覧。
  4. ^ Beckner, Chrisanne (2005年9月29日). “Best of Sacramento - Drag King: Buck Naked”. Sacramento News & Review. 2007年7月29日閲覧。
  5. ^ Long, Cris (2007年7月22日). “Bring Out the Kings!: Gage Gatlyn”. Out Impact. 2007年7月29日閲覧。
  6. ^ “Gage For Yourself”. Watermark Online (2005年9月22日). 2007年8月24日時点のオリジナルよりアーカイブ。2007年7月29日閲覧。
  7. ^ Caceda, Eden (2015年1月13日). “Inside Sydney's drag king culture”. Hijacked. 2015年1月20日閲覧。
  8. ^ Oxford English Dictionary cites Rogers, Bruce (1972), The Queen's Vernacular: A Gay Lexicon, Straight Arrow Books, https://books.google.com/books?id=aQtjAAAAMAAJ 
  9. ^ Senelick, Laurence (2000), The changing room: sex, drag and theatre, Routledge, ISBN 978-0-415-15986-9 
  10. ^ Pix, Mary; Finberg, Melinda (2001), Eighteenth-century women dramatists, Oxford University Press, p. xviii, ISBN 978-0-19-282729-6, https://books.google.com/books?id=3GkyRMvh348C&pg=PR18 
  11. ^ Duggan, Lisa (2000), Sapphic slashers: sex, violence, and American modernity, Duke University Press, p. 147, ISBN 978-0-8223-2617-5, https://books.google.com/books?id=ino_gj6djj8C&pg=PA147 
  12. ^ Ferris, Lesley (1993), Crossing the stage: controversies on cross-dressing, Routledge, p. 90, ISBN 978-0-415-06269-5, https://books.google.com/books?id=lDBlGeCHjj0C 
  13. ^ Maitland, Sarah (1986), Vesta Tilley, Virago, ISBN 0-86068-795-3 
  14. ^ Slide, Anthony (1986), Great pretenders: a history of female and male impersonation in the performing arts, Wallace-Homestead Book Co., ISBN 978-0-87069-474-5 
  15. ^ Gladys Bentley articles, Queer Music Heritage, (June 2004), http://www.queermusicheritage.us/jun2004gb2.html 2009年11月27日閲覧。 
  16. ^ Klotman, Phyllis Rauch; Cutler, Janet K. (1999), Struggles for representation: African American documentary film and video, Indiana University Press, p. 168, ISBN 978-0-253-21347-1, https://books.google.com/books?id=9egX1te2g7cC&pg=PA168 
  17. ^ Rick, Bragg (1994-06-23), “From a Night of Rage, the Seeds of Liberation”, New York Times, http://www.nytimes.com/1994/06/23/nyregion/from-a-night-of-rage-the-seeds-of-liberation.html?pagewanted=all 2009年9月12日閲覧。 
  18. ^ Halberstam, Judith (2005), “Drag Kings: Masculinity and Performance (1998)”, The Subcultures Reader, Routledge, ISBN 978-0-415-34416-6, https://books.google.com/books?id=USl1G-903EwC&pg=PA410 
  19. ^ Rapi, Nina; Chowdhry, Maya (1998), Acts of passion: sexuality, gender, and performance, Routledge, p. 237, ISBN 978-0-7890-0370-6, https://books.google.com/books?id=ZD0yi6a7od0C&pg=PA237 
  20. ^ Aronoff, Jen (2005年10月19日). “Competitive Drag Kings Strut Stuff: With some spit and polish, women perform in growing world of cross-dressing pageantry”. The University of South Carolina Daily Gamecock. 2007年10月16日時点のオリジナルよりアーカイブ。2007年7月29日閲覧。
  21. ^ Dujour, Dick (2006年8月24日). “Drag King Contest”. San Francisco Bay Times. 2007年7月29日閲覧。
  22. ^ Beckner, Chrisanne (2005年9月29日). “Best of Sacramento - Drag King: Buck Naked”. Sacramento News & Review. 2007年7月29日閲覧。
  23. ^ Long, Cris (2007年7月22日). “Bring Out the Kings!: Gage Gatlyn”. Out Impact. 2007年9月29日時点のオリジナルよりアーカイブ。2007年7月29日閲覧。
  24. ^ “Gage For Yourself”. Watermark Online (2005年9月22日). 2007年8月24日時点のオリジナルよりアーカイブ。2007年7月29日閲覧。
  25. ^ Caceda, Eden (2015年1月13日). “Inside Sydney's drag king culture”. Hijacked. 2015年1月20日閲覧。
  26. ^ Oxford English Dictionary cites Rogers, Bruce (1972), The Queen's Vernacular: A Gay Lexicon, Straight Arrow Books, https://books.google.com/books?id=aQtjAAAAMAAJ 
  27. ^ Senelick, Laurence (2000), The changing room: sex, drag and theatre, Routledge, ISBN 978-0-415-15986-9 
  28. ^ Pix, Mary; Finberg, Melinda (2001), Eighteenth-century women dramatists, Oxford University Press, p. xviii, ISBN 978-0-19-282729-6, https://books.google.com/books?id=3GkyRMvh348C&pg=PR18 
  29. ^ Ferris, Lesley (1993), Crossing the stage: controversies on cross-dressing, Routledge, p. 90, ISBN 978-0-415-06269-5, https://books.google.com/books?id=lDBlGeCHjj0C 
  30. ^ Duggan, Lisa (2000), Sapphic slashers: sex, violence, and American modernity, Duke University Press, p. 147, ISBN 978-0-8223-2617-5, https://books.google.com/books?id=ino_gj6djj8C&pg=PA147 
  31. ^ Maitland, Sarah (1986), Vesta Tilley, Virago, ISBN 0-86068-795-3 
  32. ^ Slide, Anthony (1986), Great pretenders: a history of female and male impersonation in the performing arts, Wallace-Homestead Book Co., ISBN 978-0-87069-474-5 
  33. ^ Gladys Bentley articles, Queer Music Heritage, (June 2004), http://www.queermusicheritage.us/jun2004gb2.html 2009年11月27日閲覧。 
  34. ^ Klotman, Phyllis Rauch; Cutler, Janet K. (1999), Struggles for representation: African American documentary film and video, Indiana University Press, p. 168, ISBN 978-0-253-21347-1, https://books.google.com/books?id=9egX1te2g7cC&pg=PA168 
  35. ^ Rick, Bragg (1994-06-23), “From a Night of Rage, the Seeds of Liberation”, New York Times, https://www.nytimes.com/1994/06/23/nyregion/from-a-night-of-rage-the-seeds-of-liberation.html?pagewanted=all 2009年9月12日閲覧。 
  36. ^ Halberstam, Judith (2005), “Drag Kings: Masculinity and Performance (1998)”, The Subcultures Reader, Routledge, ISBN 978-0-415-34416-6, https://books.google.com/books?id=USl1G-903EwC&pg=PA410 
  37. ^ Rapi, Nina; Chowdhry, Maya (1998), Acts of passion: sexuality, gender, and performance, Routledge, p. 237, ISBN 978-0-7890-0370-6, https://books.google.com/books?id=ZD0yi6a7od0C&pg=PA237 
  38. ^ Kramer, Gary (2006), Independent queer cinema: reviews and interviews, Routledge, p. 165, ISBN 978-1-56023-343-5, https://books.google.com/books?id=tiw7ET-wCWwC&pg=PA165 
  39. ^ “Like a Boy: Male Impersonators and the Lesser Known World of Drag Kings”. QWOC Media Wire. 2015年10月12日閲覧。
  40. ^ “The Guardian Interview with Pixie Truffle about the rise of Drag Kinging”. The Guardian (26 August 2012). 26 August 2012閲覧。
  41. ^ Interview with Murray Hill, David Shankbone, Wikinews, November 19, 2007.
  42. ^ a b Friend, David (June 20, 2017). “Kings of the night: New era of gender dynamics offers drag kings a brighter spotlight”. CTV News/The Canadian Press. June 26, 2017閲覧。
  43. ^ Gregg, Rachel (2006年8月31日). “Balls Out”. Sacramento News & Review. 2007年7月29日閲覧。
  44. ^ “Internet Archive Wayback Machine”. www.lesbilicious.co.uk. Template:Cite webの呼び出しエラー：引数 accessdate は必須です。
[編集]
Drag king resources
性的指向
性同一性・性表現・性的特徴
LGBTの文化
産業
歴史
法・権利
宗教
社会
課題・問題
性的指向
性同一性・性表現・性的特徴
LGBTの文化
産業
歴史
法・権利
宗教
社会
課題・問題
スタブアイコン

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