How does Hedwig’s journey play with and poke fun at binary

How does Hedwig’s journey play with and poke fun at binary

Part 1: How does Hedwig’s journey play with and poke fun at binary and/or normative notions of gender? How do we see others respond to Hedwig’s genderqueer identity? In what ways does Hedwig’s experience ask us to consider the place of hybrid forms of gender identity, expression, and experience that are unfixed, messy, or queer? Please cite specific examples from Hedwig’s dialogue and/or music and use analysis to explain how your examples answer this question.

Part 2: Hedwig’s journey makes reference to fairy tales, Greek mythology, popular culture, rock music, and the bible. How do you see this story using art and storytelling to articulate queer experiences of gender in a society based on binary notions of male and female? How does Hedwig flip the narrative of old stories or reimagine the content and purpose of music? What can this tell us about the relationships among art, identity, sexuality, and gender?

Part 3 (worth 2 point of extra credit): Please read and analyze “Aristophanes’ Speech on the Origin of Love,” then cite specific content from the reading and the song “Origin of Love” to explain how Hedwig draws on and revises this myth. Why do you think Stephen Trask and James Cameron Mitchell use this myth as the foundation of Hedwig’s journey (through his song, monologues, and tattoo)? In what ways does the film complicate the binary logics encoded in this myth–especially through the ending of the play?

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