IHS Class 3>?

Gender, Sexuality, and Identity Terminology

  • Transsexual vs. Transgender:
    • Transsexual: Historically designated an individual who has received gender-affirming medical interventions or clinical care and is supported through that process.
    • Transgender: A broader umbrella term encompassing diverse gender identities beyond assigned sex at birth.
  • Intersex Concepts:
    • Intersex individuals exist naturally and challenge pervasive societal assumptions regarding binary gender classifications.
    • The physical reality of intersex traits demonstrates that categories of biological sex (maleness and femaleness) are neither strictly binary nor immutable.
  • LGBTQIAP+ Acronym Definitions:
    • I (Intersex): Individuals born with sex characteristics that do not fit typical binary notions of male or female bodies.
    • A (Four Primary Interpretations):
      • Ally: Individuals who do not identify as queer but actively support the LGBTQIA+ community.
      • Asexual: Individuals who may hold a specific gender identity or physical sex but do not experience sexual attraction toward any person.
      • Agender: Individuals who identify as lacking a gender or existing outside the gender spectrum (distinct from asexual and aromantic identities).
      • Aromantic: Individuals who experience little to no romantic attraction to others (distinct from asexual and agender identities).
    • Q (Queer and Questioning):
      • Queer: An umbrella identity or political term for non-heterosexual and non-cisgender identities.
      • Questioning: Individuals who are exploring or unsure of their sexual orientation or gender identity.
      • Characteristics of Questioning: Represents a valid identity stage without declaring a fixed label. It can express politically minded resistance to fixed categorization or reflect an ongoing personal coming-out process.
      • Historical Context: The questioning category gained prominence during the gay rights movement as a counter to biphobia, offering an inclusive framework that avoids rigid identity constraints.
    • P (Pansexual):
      • Pansexuality: Sexual, romantic, or emotional attraction toward people regardless of their sex or gender identity.
      • Pansexual vs. Bisexual: Bisexuality historically denotes attraction to both male and female genders. Pansexuality explicitly encompasses attraction across all gender presentations, including intersex, genderqueer, and transgender individuals. While bisexuality carries longer historical recognition, both terms can describe overlapping attraction patterns depending on self-identification.

Nonfiction Course Readings & Annotation Requirements

  • Assignment Overview:
    • Target completion date: September 25.
    • Assigned texts: Kate Bornstein's chapter "Gender is a Bully Word" and Gary Garrison's listicle "Work Short? Ruby Slippers, Dorothy".
  • Kate Bornstein – "Gender is a Bully Word":
    • Author Background: Transgender icon, gender pioneer, and dramatist residing in Asbury Park, New Jersey (with Manhattan stylistic influences).
    • Historical Significance: Author of Gender Outlaw: On Men, Women, and the Rest of Us. Written before "transgender" entered common usage, her early work utilized terms like "transvestite" and "transsexual".
    • Language & Pronoun Innovation: Pioneered early non-binary gender pronouns (e.g., "ze" / "she" spelled c h e) prior to the widespread adoption of singular "they/them".
    • Body of Work: Authored solo plays, dramatic theatrical works (e.g., Hidden Agenda), and identity workbooks for adolescents and adults.
    • Text Structure: The chapter spans approximately 77 full double-sided pages (1414 pages total). Employs non-traditional page design, including extensive margin commentary, quotes, and non-standard layout formatting.
  • Gary Garrison – "Work Short? Ruby Slippers, Dorothy":
    • Author Background: Playwright of gay historical dramas and comedies; former Executive Director of the Dramatists Guild and National Playwriting Coordinator for the Kennedy Center American College Theater Festival (KCACTF).
    • Professional Experience: Evaluated over 1,0001,000 short plays annually (cumulatively reading thousands of 1010-minute plays throughout his career).
    • Tone & Style: Delivers advice with direct, jaded, and witty commentary—analogous to advice from a "slightly tipsy gay uncle taking you out to brunch."
    • Cultural Reference: The title references Dorothy's ruby slippers from The Wizard of Oz, reflecting longstanding historical ties between Dorothy and queer culture.
    • Core Advice: Formatted as a 1010-item listicle focusing on writing short 1010-minute plays. Provides strategies for selecting appropriate story scopes, avoiding cliché settings (such as generic apartments), and utilizing vibrant environments (e.g., supply closets, smoky bars).
  • Note-Taking & Class Discussion Mandates:
    • Annotation Rules: Mandatory notes must be taken either on printed hard copies (handwritten scribbles, highlights, sticky notes) or via digital markup/separate text documents.
    • Inspection Policy: Notes are subject to unannounced inspection at any time. Failure to present notes upon request results in an immediate score of 00.
    • Discussion Preparation: Students must select exactly one paragraph from each text to present, ask questions about, or lead a class discussion on during class. No online discussion board posting is required for these readings.

In-Class Acting Performance & Script Breakdown

  • Performance Overview:
    • In-class reading of approximately 2.52.5 pages from the play Frimmer: Marriage is a Story of Utopic and Telling.
    • Performances are non-memorized script-in-hand readings executed in pairs/groups to explore vocal delivery, physical embodiment, and text interpretation.
  • Script Section Breakdown:
    • Section A: Spans pages 61 to 63.
      • Starts: Page 61 ("If you're in darkness, I need pen…").
      • Ends: Page 63 with character B's line: "No, you're right. B rights have gone way too far."
    • Section B: Spans pages 63 to 67.
      • Starts: Page 63 with character B's line: "No, you're right. B rights have gone way too far."
      • Ends: Page 67 with character B's line: "So we don't go to this play."
    • Section C: Spans pages 67 to end.
      • Starts: Page 67 ("So we don't go to this play.").
      • Ends: Final line ("Because I'm romantic.").
      • Note: The final page containing Phi's monologue sequence is read after the third performance group completes Section C.
  • Staging & Role Modifications:
    • Physical Staging: Scripted kiss scenes are replaced with a high-five between actors.
    • Characters: Features roles for characters Phi and Hem.
    • Ensemble Casting Assignments:
      • Phi Ensemble: Read sequentially by Rose, Joyce, and Kiara.
      • Hem Ensemble: Read sequentially by Shreyas, Melissa, and Mary.
      • Special Assignment: Due to an odd class size (1717 total students), Farsha is assigned to read two distinct sections.
  • Rehearsal Instructions:
    • Individual Practice: Print script pages, perform aloud individually, experiment with vocal variety, and integrate physical movements (e.g., adjusting posture, physicalizing settings like space stations, taking off masks).
    • In-Class Preparation: A 1010\,\text{min} partner rehearsal block is provided prior to performance to coordinate physical blocking, high-five timing, and dialogue pacing.

Short Playwriting Project & Revision Workflow

  • Project Specifications:
    • Runtime: 33 to 66\,\text{min}.
    • Cast Parameters: Minimum 11 actor, maximum 55 actors. (If written with more than 55 characters, actors must double up on roles).
    • Playwright Participation: The playwright must perform as an actor in one of the roles in their own play during final staging.
    • Thematic Focus: Must thoughtfully integrate queer themes aligned with course content.
  • Source Material & Conceptual Staging:
    • Scripts can be adapted from prior class writing experiments (11 through 44), in-class writing prompts (e.g., Edward Albee monologue exercises), personal memoirs (modeled after Kate Bornstein), historical events, or original concepts/sequels (e.g., revising characters such as updating Ali and Hannah's Iowa wedding scenario to Al and Hank).
  • Multi-Stage Revision Process:
    1. First Draft: Complete a 33-to-66\,\text{min} play draft for peer review. Receive verbal and written feedback from 22 assigned classmates.
    2. Draft Revision 1: Modify script based on initial peer feedback prior to whole-class workshops.
    3. Class Workshop: Read draft in front of the entire class (1717 participants). Receive written feedback from every classmate and verbal critique/notes from the instructor.
    4. Draft Revision 2: Revise script substantially utilizing workshop feedback.
    5. Actor Assignment & Rehearsal: Assign roles to actors and conduct a final rehearsal/revision session during class.
    6. Final Staging: Perform finalized play script.
  • Grading & Revision Expectations:
    • Substantial script revision is mandatory. Submitting an unrevised play following feedback rounds will result in a failing grade of 00.
    • Writers are not required to adopt every literal critique or suggested edit, but must actively address underlying structural issues such as character motivation, objectives, and dramatic obstacles.
  • Submission & Formatting Rules:
    • File Submission: Must be uploaded as a PDF file to the designated Canvas discussion board (restricted to assigned peer group visibility).
    • Formatting Requirements: Script must clearly delineate character names above dialogue lines and visually distinguish stage directions using standard formatting (italics, indents/tabs, or parentheses).