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dc.contributor.advisorWarfield, Patrick Ren_US
dc.contributor.authorAce, Rachelen_US
dc.date.accessioned2017-06-22T06:20:35Z
dc.date.available2017-06-22T06:20:35Z
dc.date.issued2017en_US
dc.identifierhttps://doi.org/10.13016/M2TP34
dc.identifier.urihttp://hdl.handle.net/1903/19470
dc.description.abstractIn 1868 Annie Hindle brought to the American variety theater male impersonation, in which a female character vocalist assumed a realistically male stage persona to sing men’s comic songs about courting women. But Hindle’s gender-transgressive behavior was not limited to the stage: her romantic relationships were primarily with other women, twice disguising herself in male dress to marry. Despite what appears a clear connection between the onset of male impersonation, gender-transgressive dress, and same-sex desire, scholarship on male impersonation has treated a reading of Hindle’s act that engages with the category of sexuality as speculative. Through an examination of Hindle’s repertoire and performance context, this thesis demonstrates that her performance should be read as a form of sexual commentary. Because in the nineteenth-century United States male dress signaled that a woman engaged in same-sex practices, this thesis reads male impersonation as a recognizable representation of unconventional sexual identity.en_US
dc.language.isoenen_US
dc.titleA Character Singer in Male Attire: Annie Hindle in America, 1868–1886en_US
dc.typeThesisen_US
dc.contributor.publisherDigital Repository at the University of Marylanden_US
dc.contributor.publisherUniversity of Maryland (College Park, Md.)en_US
dc.contributor.departmentMusicen_US
dc.subject.pqcontrolledMusicen_US
dc.subject.pqcontrolledLGBTQ studiesen_US
dc.subject.pqcontrolledAmerican studiesen_US
dc.subject.pquncontrolledAnnie Hindleen_US
dc.subject.pquncontrolledLGBTQen_US
dc.subject.pquncontrolledmale impersonationen_US
dc.subject.pquncontrollednineteenth centuryen_US
dc.subject.pquncontrolledUnited Statesen_US
dc.subject.pquncontrolledvariety theateren_US


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