Abstract
‘Queer’ and ‘lesbian’ are terms that offer valuable interventions in the field of theatre and performance studies. Current scholarship largely does not account for an amalgamation of these two positions, but, as some female performers, such as Rosana Cade, are aligning their work with both terms, there is a need for a more nuanced discourse that accounts for an engagement with the histories ascribed to ‘queer’ and ‘lesbian’ in performance and what these terms offer. My doctoral research seeks to investigate whether the term ‘post-lesbian’ is beneficial for analysing contemporary practice that draws from both positions.
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