You can read the full text of my article “The Unrepresentable Takes the Stage: Bisexual Legibility and Theatrical Monosexism in Contemporary English-Language Drama” published in the Journal of Contemporary Drama in English by clicking here.

Abstract:

This article brings contemporary theatre studies into dialogue with the growing range of bisexual scholarship across disciplines. This scholarship argues, among other things, that bisexuality must be understood not as a blend of heteroand homosexualities, but rather as a unique experience that is subject, at various times, both to homophobia and to another form of discrimination: monosexism. I argue that bisexual erasure, discrimination, and oppression – monosexism – in theatre reinforces and is reinforced by bisexual erasure in the broader culture. Building on the work of Judith Butler, Jill Dolan, Sam See, and others, I suggest that
greater awareness of bisexuality in theatre studies might play a part in destigmatizing bisexuality and making offstage bisexual lives more legible and more liveable. The article goes on to analyze representations of bisexuality in three contemporary
English-language plays: Stop Kiss (2000) by American playwright Diana Son, Cock (2009) by British playwright Mike Bartlett, and Smoke (2022) by Canadian playwright Elena Belyea.