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Stagestruck: Theater, AIDS, And the Marketing of Gay America Paperback – Oct. 1 1998
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- Print length152 pages
- LanguageEnglish
- PublisherDuke Univ Pr (Tx)
- Publication dateOct. 1 1998
- Dimensions15.72 x 1.35 x 20.47 cm
- ISBN-100822322641
- ISBN-13978-0822322641
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Schulman begins with an unhappy account of having her novel ripped off by Larson, but uses this as a springboard to discuss the broader and more complex issues of how gay themes--particularly AIDS--are used and distorted in mainstream culture, focusing her discussion on a wide range of entertainments including the film Philadelphia, Jon Robin Baitz's play A Fair Country, performances by Diamanda Galas, and POZ magazine. As in her best novels, Schulman's observations on culture and politics are astute and startlingly original. Stagestruck is an incisive and important work of social criticism. --Michael Bronski
From Library Journal
-?Howard E. Miller, M.L.S., St. Louis
Copyright 1998 Reed Business Information, Inc.
Review
Sarah Schulman writes from a highly scorned community whose members are generally cast as anonymous freaks in someone else's play. As Stagestrucj makes clear, the titillating history and ideas of those "freaks" are consistently stolen and then corrupted by uptown "art" marketeers out to make a quick buck. But you cannot change the story without changing the moral of the story. "Soul stealing" is punishable in older societies. It is time we caght up. -- Diamanda Galas, performer and composer.
Utterly engrossing ... startling and scary ... I have never read a more persuasive account - a wonderfully written one, too - of the commodification that has overtaken us, and the disparity of power between the haves and the have nots ... Stagestruck establishes beyond cavil the gross colonization by yuppie straight America of all that is special about gay life. Sarah Schulman remains what she has been: a rare, fearless teller of unpleasant truths. -- Martin Duberman, author of In White America and Stonewall
Product details
- Publisher : Duke Univ Pr (Tx) (Oct. 1 1998)
- Language : English
- Paperback : 152 pages
- ISBN-10 : 0822322641
- ISBN-13 : 978-0822322641
- Item weight : 327 g
- Dimensions : 15.72 x 1.35 x 20.47 cm
- Best Sellers Rank: #1,509,368 in Books (See Top 100 in Books)
- #123 in AIDS & HIV
- #197 in Gay Dramas & Plays
- #674 in History of Dramas & Plays
- Customer Reviews:
About the author

Sarah Schulman is the author of novels, nonfiction books, plays and movies. Forthcoming in May 2021, LET THE RECORD SHOW: A Political History of ACT UP, NY 1987-1993 (FSG). Her most recent novels are MAGGIE TERRY and THE COSMOPOLITANS,(The Feminist Press) which was picked as one of the "Best Books of 2016" by Publishers' Weekly, and a nonfiction book CONFLICT IS NOT ABUSE: Overstating Harm, Community Responsibility and the Duty of Repair (Arsenal). She recently published ISRAEL/PALESTINE AND THE QUEER INTERNATIONAL from Duke University Press, THE GENTRIFICATION OF THE MIND: WItness to a Lost Imagination by University of California Press, the paperback of TIES THAT BIND: Familial Homophobia and Its Consequences and the paperback edition of her novel THE MERE FUTURE from Arsenal Pulp.Previous novels are THE CHILD, SHIMMER, EMPATHY, RAT BOHEMIA, PEOPLE IN TROUBLE, AFTER DELORES, GIRLS VISIONS AND EVERYTHING and THE SOPHIE HOROWITZ STORY. Her nonfiction titles are TIES THAT BIND: Familial Homophobia and Its Consequences, STAGESTRUCK:Theater, AIDS and the Marketing of Gay America, and MY AMERICAN HISTORY: Lesbian and Gay Life During the Reagan/Bush Years. A working playwright, her productions include: CARSON McCULLERS (published by Playscripts Ink), MANIC FLIGHT REACTION and the theatrical adaptation of Isaac Singer's ENEMIES, A LOVE STORY. As a screenwriter, her films include THE OWLS (co-written with director Cheryl Dunye)- Berlin Film Festival 2010, MOMMY IS COMING (co-written with director Cheryl Dunye)- Berlin Film Festival selection 2011. and JASON AND SHIRLEY, directed by Stephen Winter (Museum of Modern Art). She is co-producer with Jim Hubbard of his feature documentary UNITED IN ANGER: A History of ACT UP. As a journalist, her essays have appeared in The New York Times, The Nation, and Interview. She has won a Guggenheim Fellowship in Playwrighting, a Fullbright in Judaic Studies, two American Library Association Book Awards, and is the 2009 recipient of the Kessler Prize for sustained contribution to LGBT studies. Sarah is Distinguished Professor at the City University of New York, College of State Island, a Fellow of the New York Institute for the Humanities at New York University. A member of the advisory board of Jewish Voice for Peace, Sarah is faculty advisor to Students for Justice in Palestine at The College of Staten Island. She lives in New York.
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I am also one of the many people who saw "Rent" on Broadway during the week it won the Tony, and I'm not ashamed to say, I loved it. But a year or so later, when it came to LA, I took a couple of friends and saw it again -- and I have to admit, it seemed fake, packaged, forced. In her role as a critic, apart from her personal connection to the show, Schulman explains why parts of "Rent" seem false. She puts into words some of the fleeting, troubling thoughts I couldn't articulate for myself.
I'm an English professor and I teach drama -- I intend to use "Stagestruck" in future courses.
Schulman presents her case in this book as well as she probably could. Not only does she point out the similarities between "People in Trouble" and "RENT", she also relates the "fact" that straight writers cannot write about gay people; it is evident that all heterosexuals are deeply homophobic. She points out the virtues of gay playwrights and always bashes the white, straight, and male ones. In fact, Schulman's original review of RENT, though not the best, was positive to a certain extent ("Larson's heart is clearly with the queers" she wrote) but after finding out that Larson was NOT gay and did not die of AIDS, well, then of course RENT contains many obvious homophobic themes, among them, allowing the Angel, who is gay, to die but allowing Mimi, who is straight, to live.
But even if Schulman's allegations that RENT is gay-bashing and homophobic seem preposterous, there must be something said about her other, and more "important" belief. RENT is a blatant rip-off of her book, right? Well, maybe but not conclusively. While Schulman presents her case in such a way as to make it sound like the plot of RENT is exactly like "People In Trouble", in reality the similarities she points out are almost always just vague passing references in the actual novel and very often simply incorrect. Such mistakes may seem ridiculous, but there are enough misquotes from RENT and even characters who are named incorrectly in "Stagestruck" that make it seem obvious that Schulman has seen the show about once (if even) and did not bother to even find a copy of the script.
While there are many other preposterous allegations in "Stagestruck", they are too much to list here. Schulman's whiny prose is hard to sustain the reader, and her theory is trivialized by contradictions and bitter prejudice. The basic premise of the book is not ridiculous- Jonathan Larson may have lifted a few of the more unimportant details in "People In Trouble"- but Sarah Schulman's angry presentation of it is.





