Abstract

Judith Butler’s seminal book, Gender Trouble, categorizes drag performance as indicative example of gender performance. In it, they categorize drag performance along binary lines of gender “opposites”. I argue that Butler’s theory does not hold if the nuance inherent to drag performance is taken into consideration. In examining its complexity, I establish that the artform and its performers are politicized. Through this politicization, I explore how drag performers and drag performance are signified and are able to be understood hermeneutically as a way to expand Butler’s initial theory.