ABSTRACT

The Snatch Game episodes of RuPaul’s Drag Race are hugely popular and highly anticipated. A test of their make-up and acting skills, the game requires competitors to impersonate celebrities and answer outrageous questions in-character. The hyperbolic nature of these impersonations, consistent with the culture and affective resonance of drag and camp, invites us to read them as performed caricatures. Caricature, like camp, can be critical and transgressive. It can also depend on gendered, classed, ableist or racialised stereotypes as part of its implied critique of its subject. This article will consider how Snatch Game caricatures manifest this play of subversion and conservatism in relation to the selection of celebrity subjects and the modes of performance applied to the impersonation of them. This article will analyse the relationship between drag, caricature and celebrity as it plays out in The Snatch Game, by considering how the celebrity impersonation draws on and subverts a celebrity’s persona. If camp can be defined as ‘queer parody’, drag impersonations may be looked at as queer caricature.

摘要

RuPaul的阻力赛的抢夺游戏情节非常受欢迎且备受期待。为了测试其化妆和表演技巧，该游戏要求竞争对手假扮名人并回答人物中的残酷问题。这些模仿的双曲线性质与拖曳和扎营的文化和情感共鸣相一致，邀请我们将其视为表演漫画。像营地一样，讽刺漫画可能是批评性的，也是违反性的。它也可以根据性别，分类，能力主义者或种族化的刻板印象来作为对其主题的隐含批判的一部分。本文将考虑“抢夺”游戏漫画如何表现出这种与颠覆和保守主义有关的名人题材选择以及模仿他们的表演方式。本文将分析拖动之间的关系，通过考虑名人模仿如何吸引和颠覆名人的角色，在《抢夺游戏》中扮演讽刺漫画和名人角色。如果可以将Camp定义为“酷儿模仿”，则可以将拖动模拟视为酷儿漫画。