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W h a t i s t h e k n u ck l e b e t we e n t h e p e r fo r m a t i ve wo r l d - b u i l d i n g o f d r a g c u l tu r e a n d t h e s e l f - s o o t hi n g a n d p l ay f u l h o m e - b u i l d i n g o f yo u n g g i r l s ? Th e r e a r e d o l l h o us e s h e r e . Th e r e i s a c o m m e n s u r a t e v i b r a n c y o f q u e e r s p a c e m a k i n g a n d t h e s i m p l e i m a g i n e d wo r l d s o f E l o i s e f r o m E l o i s e a t t h e P l a z a a n d M o o n e e f r o m Th e F l o r i d a Pr o j e c t. I t i s fa n t a s y o f n a rr a t i ve , i t i s M o n t e s s o r i t e a ch i n g s m a n i fe s t e d . I t i s t h e a p p r o p r i a t i o n o f s p a c e t h a t wa s n o t p r i o r i t i ze d fo r t h e m . E l o i s e a n d M o o n e e w i l l t h e s u r fa c e s t h a t h o s t t h e m i n t o t h e i r ow n p e r s o n a l t h r e e d i m e n s i o n a l d o l l h o u s e s b e c a u s e t h ey a r e n o t c o n t a i n e d by a u t h o r i t a t i ve d o m e s t i c t r a d i t i o n s . S h e i s t h e d o l l s h e p l ays w i t h . E p h e m e r a l i t y o ffe r s a p e r m i s s i o n t o p l ay, t o p e r fo r m , t o r e - i d e n t i f y Th e n o m a d i c c o n d i t i o n o f d r a g “ h o u s e s ” / ” f a m i l i e s ,” c o n v e r s e l y fo r c e s t h e m e m b e r s t o m a ke t h e
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Th e r e i s a l i n e a g e o f t r a n s i e n t ch ar a c t e r s r e - i d e n t i f y i n g w i t h i n t h e s p a c e o f a h o t e l o r t r a i n . C h a r a c t e r s t h a t i n h a b i t t h e p o ch e o f t h e i r d i s p l a c e m e n t - d a b b l e i n n a rr a t i ve dr a g .
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I s t h e r e a p hys i c a l m a n i fes t a t i o n o f t h i s i n ha b i t a b l e p o ch e ? I s t h er e a d r ag h o u s e o f t h e m i n d t h a t w i l l t e a s e n ew n a rr a ti ve s a n d a l l ow t h e u n d e r- s e r ve d t o m a ke t h e i r ow n s p a c e a n d s t o r y. D i sc ove r n ew t ex tu r e s o f i d e n t i t y a n d c o n t e st t h e c o n s t ru c t s t h a t fo r m e r l y s t i f l e d i t .
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Th e m a r ke t i n g o f “ h o m e” h a s l e ft a f i s s u r e t h r o u g h w h i ch t o a p p r o p r i a t e a ny s p a c e i n t o a p e r s o n a l “ h o m e ,” b e t h a t t h r o u g h s o l o - i n t e r i o r i m a g i n a t i o n , o r o p e n - a r m e d c o m m u n i t y b u i l d i n g . I n t h e fa s h i o n o f 19 8 0 ’s d r a g Ba l l C u l tu r e “ H o u s e” i s yo u r a r t i s t i c fa m i l y- - a ho m e a n d s e n s e o f p l a c e t h a t i s b u i l t by t h e m e m b e r s . Th e d r a g h o u s e i s r e n d e r e d i m m u t a b l y p owe r f u l b e c a u s e o f i s m e t a p hys i c a l i t y. Th e i n t a g i b i l i t y o r n o n - p l a c e o f a d r a g h o u s e c a n o ffe r t h e s p a t i a l ( a n d n a rra t i ve ) d i sp l a c e m en t o f “ h o m e” ( o r p e r c e p t i o n o f h o m e ) a n d t he r e fo r e s u b s e r v i e nt i d e n t i t y- n ow w h a t c a n h a p p e n
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Ye s , d r a g i s v i s u a l . Ye s , d r a g i s a v i s u a l m e t h o d o l o g y t o a c t i v a t e n e w ch a ra c t e r i z a t i o n s . I t i s n o t p u r e l y v i s u a l . Th e a c t o f p r e e n i n g t o a ch i eve t h e v i s u a l a r t o f d r a g a l s o o ffe r s a n a n o ny m i t y. Th i s i s a n e p h e m e r a l a n o ny m i t y t h a t a n o p p o r tu n i s t i c a r t i s t a c c e p t s a s a p e r m i s s i o n . A p e r m i s s i o n t o fo r g e t yo u r n a m e , t o b e u n b r i d l e d , t o d i s c ove r t ex tu r e s o f yo u r cha r a c t e r t h a t we r e fo r m e r l y d o r m a n t . To m o r r o w t h e a r t i s t w i l l d o n t h e i r o v e r- w o r n a n d u n d e r- wa s h e d j e a n s ; t h a t k n ow l e d g e p r ov i d e s a p r e s e n t fa n t a s y. 2 1 s t c e n tu r y d r a g p r i m a r i l y fo l l ow s t h e t r a d i t i o n s o f m a s s a p p e a l p e r fo r m a n c e a r t . Th e r e i s a p e r fo r m e r ( t h e d r a g a r t i s t ) a n d t h e r e i s a n a u d i e n c e t h a t s p e c t a t e s a t a t y p i c a l t h e a t r i c d i s t a n c e . Th e p e r fo r m e r s a r e k n ow n by a n d m o s t r e s p e c t f u l l y a d d r e s s e d by t h e i r s t a g e o r ch a ra c t e r n a m e . Th e c o nve c t i o n s a l l ow fo r a c o n s i s t e n t p r i va c y t h a t p r ov i d e s a r e l i a b l e fo u n d a t i o n fo r t h e a r t i s t t o b r e a k a n d m an g l e t h e i r i d e n t i t y w i t h i n t h e i r d r a g .
I n t h e m a c r o t h e r e i s t o l e r a n c e , i n t h e m i c r o t h e r e a r e m o m e n t s o f a c c e p t a n c e . Th i s c o n d i t i o n m ay n o t a l l ow for ex p r e s s i o n s o f eve r y u n n a m e d q u a l i t y o f a ch a ra c t e r. Th i s t h e n p r e c i p i t a t e s a d e f i n i n g o f d r a g [ a n d t h e v i s u a l p r a c t i c e o f i t ] a s a c r eva s s e v i a w h i ch t o h i d e o r t o e x p l o r e . R u p a u l p o s i t s t h a t “e v e r y o n e i s a l w a y s i n d r a g .” C o n v e n t i o n s s t r a p r e s t r a i n t s o n e x p r e s s i o n a n d t h e o c c u p a t i o n o f s p a c e t h a t fo r c e a v i s u a l c u r a t i o n o f t h e d r a g o f a s s i m i l a t i o n [ i . e . to h i d e ] . Th e p o cke t s o f p e r s o n s t h a t fe e l m i s r e p r e s e n t e d w i t h i n t h e m o n o l i t h o f t h e a s s i m i l a t e d t h e n s w i m t h r ou g h t h e c r eva s s e o f d r a g t o ex p l o r e t h e u n k n ow n o r u n d e ru s e d vo i c e s w i t h i n t h e m . To d a y t h e r e s t r a i n t s a r e w o r n ; t h e t h i n n i n g s t r i n g s a n d c o rr o d i n g b u ck l e s a r e a t e a s e . S o
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[ab ove ] Illu stratio n fro m Je n n ife r, He cate , Macb e th , W illiam Mckin ley, an d Me , E lizab e th writte n an d illu strate d by E .L . Ko n ig sb u rg (19 6 7 ) [le ft] No rman Bate s [An th o ny Pe rkin s] lo o ks o n as Mario n se ttle s with in h e rse lf, S till fro m P sych o (19 6 0 )
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[ G e o r g e s du Fr esne] dons jewe lr y an d a ve il an d imag in e s r o u n d i n gs t o be lacquer ed in b rig h t p in ks an d flo ral nt . om My Life in Pink ( 1997)
Ye s , i f y o u w e r e a l o n e i n a r o o m w i t h N o r m a n B a t e you wo u l d k n ow w h e r e t h e d o o r i s a n d t h e m o s t e ff i c i e r o u te t o s a i d d o o r b e tt e r t h a n yo u wo u l d k n ow w h a t eve p l a ti tu d e s yo u t wo we r e b a n d y i n g b a ck a n d fo r t h . A l s o ye s , L u d v i c p r a n c i n g h i s m o t h e r ’s p e a r l s fo r n o t hi n g m o r e t h a n t h e d e l i g h t o f fa n t a s y i s a p e r fo r m a n c e t h a t r e q u i r e s s o l i tu d e fo r i t ’s m o s t p r e c i s e ff i c a c y. H e i s p l ay i n g . Th i s i s p l ay d i l u t e d
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Lo n e l i n e s s i s s i m p l e . P l ay i s s i m p l e [b u t l e a r n e d ] . M o o n e e , E l o i s e , a n d Je n n i fe r a r e a l l t a l l w i t h exp e r i e n c e , c u r i o s i t y, o r l i t e r a tu r e . Th ey c a n s p i n a n d s p i n a n d r e - s p i n a ny s p a c e i n t o t h e i r fa n t a s y. Th ey c a n we a r m any h a t s . Th ey c a n l o o k a n a d u l t i n t h e eye w i t h a s a g e l y s t e a d i n e s s . Th e i r l o n e l i n e s s h a s e n g e n d e r e d a g r a n u l a r p r o j e c t i o n . Th e b a n a l i s n o t h i n g l e s s t h a n a p l e a t o r e - i m a g i n e . N o o b j e c t n e e d s t o b e u s e d fo r i t s p r o p e r p u r p o s e [ t h a t i s s i m p l y t o o b o ri n g ] . Je n n i fe r i s t h e o l d e s t , b i g g e s t , a n d s m a r t e s t o f t h e t h r e e g i r l s . S h e t a ke s u p t h e m o s t s p a c e . S h e i s p e r ch e d o n h e r w i n d ow s i l l h a l f r e a d i n g a n d h a l f d r e a m i n g , a n d t h e n s h e t h i n k s t o h e r s e l f :
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M o o n e e a n d E l o i s e b o t h h ave a n a d u l t a u t o n o my. Th e i r r e a l i t i e s a r e c l u tt e r e d w i t h t h e d a r k - g r ay m a tt e r o f a b a n d o n m e n t , l o s s , a n d t h e c o n s t ru c t o f h o m e l e s s n e s s . I n t h e i r n a s c e n c e w h a t i s m o s t p a l a t a b l e [ w h a t i s t h e l o u d e s t ] i s l o n el i n e s s . Th e fe e l i n g t h a t i s b r o a d , va g u e a n d g r ay e n o u g h t o e c l i p s e r e a s o n o r u n d e r s t a n d i n g .
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[ left ] Illu stratio n by Hillar y Knigh t fro m E lo ise at th e P laza ( 1955 ) [ b Vi Pr ( 2
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C o l o r i s i m p o r t a n t fo r t h e m . Th ey e n g a g e w i t h a s o c i e t a l s o ft n e s s . Th ey g i ve a d e m u r e w i n k . A n d t h i s i s t h e fo u n d a t i o n o f s we e t n e s s , a fo u n d a t i o n t h a t i s u n a b a s he d l y p a s t e l . N ow, u p o n t h i s fo u n d a t i o n M o o n e e a n d E l o i s e c a n t h r i ve - l o u d l y. Th ey c a n u n b r i d l e t h e i r i d s a n d fo r g e t w h a t t h e wo r d “ p r i m ” m e a n s . M ay b e n e i t h e r o f t h e m eve r k n ew w h a t i t m e a n t t o b e g i n w i t h . o d s p
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s p a c e .
h e r fo o d . S h e c o l l e c t s fo r g o tt e n r g u e s t s , s h e c o l l e c t s f r i e n d s a n d h e r S h e ye l l s a t t h e s k y, a n d k n ow s t h a t a s h e r vo i c e . u p
s p a c e .
N A I VE T É
We s e e M o o n e e’s wo r l d a s a s u g a r y l i l a c . We s e e E l o i s e’s wo r l d a s a n e n e r g e t i c p i n k . I s t h i s a t e ch n i q u e t o a s k t h e a u d i e n c e t o a l l ow t he wo r l d t o u n fo l d a n d b l o o m fo r u s a s t h ey d o fo r M o o n e e a n d E l o i s e ? Th e a u d i e n c e k n ow s t h e r e i s d a r k n e s s e m b e d d e d i n t h e s u b s u r fa c e o f t h e i r wo r l d s - - b u t s o d o M o o n e e a n d E l o i s e .
W O RD S
D R A B B L E S
O N
[ PERF ORMA NCE]
[ab ove ] Bill Have rch u ck [Martin S t arr] e n joys a g rille d ch e e se an d g u ffaws as h e watch e s st an d -u p co me d y by h imse lf S till fro m Fre aks an d Ge e ks (19 9 9 ) [le ft] Blan ch e Du b o is [V ivie n Le ig h ] ju d g e s, th in kin g ab o u t h e rse lf, fro m afar S till fro m A S tre e tcar Name d De sire (19 5 1 )
Ad d i e Lo g g i n s [ Ta tu m O’ N e i l l ] s l a t h e r s h e r m o t h e r ’s a c r o s s her c o l lar and pr oceeds t o smo ke a cig are tte s a t i s f i e d . S ti l l f r om Pa per M oon ( 1973)
p e rfu me in a h o te l
b e d ;
W hy d o yo u tu r n o n t h e fa u c e t i n a p u b l i c b a t h r o o m eve n w h e n yo u h ave n o i n t e n t i o n o f wa s h i n g yo u r h a n d s ? B i l l H ave r ch u ck e m b r a c e s p l e a s u r e i n a way t h a t c a n o n l y b e a c c o m p l i s h e d i n p r i va c y. H e l e a n s fo r wa r d a n d l a u g h s a t G a rr y S h a n d l i n g ; h e s p i l l s h i s fo o d a n d d o e s n o t p r e t e n d t o n o t i c e o r c a r e . H e i s p u r e l y u n - c u r a t e d . H e a tt e m p t s n o p o s tu r e . H e i s n a tu r a l a n d u g l y. [ E l o i s e a n d M o o n e e a r e n o t s c a r e d t o b e u g l y ] .
Th e fe a r o f b e i n g “ u g l y ” p o i s o n s B l a n ch e D e b o i s’ m i n d a n d c o n t o r t s h e r m a n n e r. S h e i s a l ways p e r fo r m i n g u n c o nven t i o n a l l y - eve n i n p r i va c y. S h e i s r ave n o u s fo r p e r fe c t i o n a n d b u i l d s wo r l d s o f l i e s a r o u n d h e r. I f n o o n e eve r k n ow s t h e u n - p o s tu r e d h e r, n o o n e w i l l eve r s e e t h a t s h e i s u g l y. B l a n ch e i s s o r o tt e d w i t h s e l f - h a t r e d t h a t s h e i s i n c a p a b l e o f t h e n a tu r a l , n o n j u d g m e n t a l j oy, t h a t B i l l ex p e r i e n c e s . H e r p e r fo r m i n g fo r h e r m o s t exc l u s i ve a u d i e n c e o f o n e ( h e r s e l f ) , i s n o t h i n g l i ke Ad d i e Lo g g i n s s p r i t z i n g s o p h i s t i c a t e d p e r f u m e o n h e r n a p e a n d p u r s i n g h e r l i p s t o t h e b a t h r o om m i rr o r. B l a n ch e d o e s n o t h ave a s e n s e o f s e l f. S h e c a n n o t b r e a k t h i n g w i t h i n h e r a n d p i n ch t h e m b a ck t o g e t h e r b e c a u s e s h e k n ow s n o “ b a c k t o g e t h e r .” S h e d o e s n o t h a v e t h e c o m f o r t f o r p l a y . Ye s , t h e r e i s p l a y i n t h e c o n v e n t i o n s o f t h e a t r i c a l p e r fo r m a n c e . A l s o ye s , t h e r e i s m o r e p l ay [ a n d t h e r e fo r e m o r e p owe r ] i n p e r fo r m a n c e w i t h o u t a c o n s t ru c t e d a u d i e n c e . Pr i va t e p e r fo r m a n c e i s s t r i p p e d o f t h e j u d g m e n t a n d n o i s e o f a m e t a p hys i c a l ex t e r i o r. Th e o n l y i n t e r i o r t h a t m a tt e r s i s t h e m i n d . N o r m a n , M a r i o n , , A i l e e n , a n d B l a n ch e a r e a l l h i d i n g f r o m d a r k n e s s e s a n d p e r fo r m fo r t h e m s e l ve s t o s u r v i ve . L u d v i c , Ad d i e , Ja ck , G i o s u e , Je n n i fe r, M o o n n e e a n d E l o i s e p e r fo r m t o p l ay - t o d i r t y, m ove , a n d t a ke u p exc e s s s p a c e u n c o l o r e d by a d u l t c o nve n t i o n s .
PE RF O RM A N CE
Pe r fo r m a n c e i n t h e t h e a t r i c a l c o nve n t i o n s o f s e r v i c e ve r s u s s e r ve d c a n b e pl ay f u l . I t i s p o p u l a r a n d p u b l i c l y n o r m a l . Th e s e r ve r s t e l l a s t o r y o f wo r d s , n o i s e s , m ove m e n t s , o r c o l o r s , a n d t h e s e r ve d a s k t o b e t r a n s p o r t e d . Pe r fo r m a n c e fo r o n e s e l f i s u n c o nve n t i o n a l . I t i s p o p u l a r a n d i t i s i n ev i t a b l e b u t t h a t d o e s n o t m e a n i t i s “ n o r m a l .”
R EH E A RSAL [ LIN E S]
[ LIN _ i m a g i n e d
I e l o i s e
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m o o n e e
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E L O I SE
i n h a b i t a b l e [ e l o i s e ]
p o ch e
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PO SSI B L E F I CT I O N S i n h a b i t a b l e p o ch e [ i n t a n d e m ]
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PO SSI B L E F I CT I O NS I I
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FI N A L
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F IN AL
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D O L L H O U SE n the fall of 2019 the onePulse foundation published a call for submissions for a new memorial for...
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D O L L H O U SE he Pulse Nightclub in Orlando Florida- which has been left vacant since the shooting in June of 2016 during which drag queens masquerading as latin pop stars were performing. This is an opportunity to delve more into what specifically can be celebrated, preserved, or revealed through architecture.
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D O L L H O U SE o: in the tradition of Paris is Burning - the Dollhouse is officially open. Adorned with saccharine pink paint and trim so ostentatious the drapes may as well be pure tinsel, this playscape is a sequence of inhabitable dollhouses. Much like the artform of D.R.A.G (which stems from the 16th century Shakespearean acronym “dressed resembling a girl�), playing with dolls or dollhouses is an abstracted and hyperbolic construct of femininity.
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D O L L H O U SE he word choice of “resembling� is integral to the art form - it is cheeky and sarcastic it is toying with gendered expectations.
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D O L L H O U SE t is not “dressed as a girl” it is “resembling” it is abstracted or exaggerated it is a parody of the visual expectations of gender.
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D O L L H O U SE oday there are metaphors and threads connecting drag performers to dolls, as a continuation of playing with hyperbolic feminine constructs. On Rupual’s Drag Race: Rupaul says “welcome to the dollhouse” as he’s first welcoming the queens into the work room.
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amed drag queen Trixie Mattel says...
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D O L L H O U SE he metaphor has a more nuanced foundation as well, playing with dollhouses is committing to the fantasy of domesticity - often only applied unto young girls. However, these young girls through dollhouses can gain autonomy, and can create their own worlds wherein which they are the writers and directors. Former Drag Race winner Sasha Velour punctuated winning her title with the statement...
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ollhouse provides a revealing procession through the composition of a D.R.A.G. performance from inception to finality .Each phase is hosted within a room with a blunt sectional exposure (like that of an opened dollhouse) and ornamentation as sardonic as the artform. Each house is anchored to the perimeter of the site to respectfully frame the existing structure of the Pulse Night Club and allow activity to fill the interstice created from the new dollhouses. The site can be visited during non-performance hours to allow community members and allies to engage with the site, context, and culture.
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D O L L H O U SE he procession begins with the making + building house: in which the costumes, set pieces, and installations are made.
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D O L L H O U SE rt + craft classes for the public are hosted within and spill beyond during daylight hours.
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D O L L H O U SE ostumes and set pieces are sprinkled throughout the rooms and positioned to be displayed outward.
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D O L L H O U SE he form allows for ample visibility...
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D O L L H O U SE owever the activity still physically slips beyond the border to exteriorize the formerly interior and encourage inclusion.
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D O L L H O U SE equentially next is the rehearsal house: in which dancing and voice lessons for the public are held as the secondary program to the drag performers rehearsal space.
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D O L L H O U SE he faces of the house directed towards the Pulse Nightclub are comprised of hinged panels to open it’s activity towards the remaining structure - as well as the pedestrian procession between.
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he ticketing and concession house follows...
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D O L L H O U SE t’s amenities are open during non-performance hours to the public who wish to explore the playscape or peacefully honor the site during less energetic hours.
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D O L L H O U SE rtifacts of costuming are on display as a continuation and introduction to the performance.
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D O L L H O U SE s one exits this house a threshold is passed - from preparatory stages of the performance to final stages.
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D O L L H O U SE he ornamentation becomes more garish and the scale of the structures is enlarged by roughly 25% the typical inhabitable dimensions. The play is heightened...
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D O L L H O U SE here are framed display houses on the left...
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nd on the right drag queens preen and prep in the green room, dressing room, and makeup room dollhouse with entirely retractable panels to allow all movement and life to extend beyond the typical threshold of an exterior wall. The queens can be seen walking from their dressing rooms to the unveiled stage area hosted within the second half of the last dollhouse. Which can, similar to the other houses before, be used for the same purpose for nondrag performances during off-hours.
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s a response to drag aesthetics and themes each sequence is housed within structures designed and ornamented as a “dollhouse� with traditional forms of residential buildings with gaudy trim and detailing. There is a narrative thread of mocking the constructs of femine visuals and desire for domesticity - but furthermore the sectional condition of dollhouses allow for the visitors to see the sequence of events as they unfold the creators and performers are elevated and framed. The tragedy of the Pulse nightclub shooting was an interior condition - this way of celebrating and honoring the impacted communities is an exteriorization of their experiences.