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This book is an anthology of Mark Edward’s creative practice-led projects. It transmits and communicates his research through varied artistic means, primarily contemporary dance, immersive art installation, drag performance, and photography. Through the innovative practice of 'mesearch', in which the author is both theoriser and theorised, this study delivers a personal, creative narration, combining reflections and emotions in relation to self and performance. Instead of being an attempt to undervalue or challenge the accepted notions of style within academic research, it promotes a freedom of expression which allows greater fluidity between the researcher, the performer, and the writer.

Performing arts --- Show business --- Research. --- Research --- Methodology. --- Arts --- Performance art --- Performing arts. --- Theater. --- Actors. --- Self. --- Performing Arts. --- Performers and Practitioners. --- Self and Identity. --- Dramatics --- Histrionics --- Professional theater --- Stage --- Theatre --- Acting --- Actors --- Personal identity --- Consciousness --- Individuality --- Mind and body --- Personality --- Thought and thinking --- Will --- Stage actors --- Theater actors --- Theatrical actors --- Artists --- Entertainers --- Theater --- Identity (Psychology). --- Self --- Ego (Psychology)

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In recent years drag performance has moved from the fringes to emerge as a mainstream phenomenon, showcased on TV shows in the US and the UK. This collection offers a diverse range of critical engagements by drag performers, makers, scholars and writers reflecting on work from the UK, USA, Israel, Germany and Australia. Moving beyond discussions of gender theory, the essays consider contemporary drag performance practices, connecting them to the histories, communities and politics that produced them. Chapters range across discussions of drag kings in the US, UK and drag and activism; the influence of RuPaul on the generation of new forms of work in New York; transfeminist critiques of drag; 'bio'/faux queens; engagements with race and ethnicity through drag performance; drag andragogy; audience concerns; drag intersections with animal personas, and how drag performance relates to personal narratives of history and identity. Collectively the contributions focus on drag as a mode of performance that is diverse and that uncorsets the easy thought that drag is simply a cross dressing man in a dress or a woman in a suit.

Drag shows --- Female impersonators --- Male impersonators --- Drag shows. --- Female impersonators. --- Male impersonators. --- History and criticism. --- Social aspects.

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