Abstract
This article deals with Tony Kushner's two-part stage epic, Angels in America (1992) and the way it has been positioned as a source text for queer theory, performance studies, and postmodern theories of the stage. The article focuses on identity politics, the performance of "femininity," and gender activism as they intersect in the performing body. This allows for the interrogation of the complex relationship between gender, sexual identity, and non-normative sexual representations and demonstrates the continued necessity of a feminist critique of power in theatre even in a so-called post-feminist era.
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