In many contemporary drag performances, an extremely subversive, sex-positive, but also euphemistic handling of vestimentary and linguistic signs that move in the field of associations of prostitution is striking. The study explores the question of how and why drag performers often make references to sex work in this way and stage them accordingly.
Linked to this is the question of how drag performances can currently be defined at all and which established theatre science concepts can prove productive for such a description.
Drag performances represent an extraordinary and often misunderstood form of the representation of gender brought to a stage.
On the basis of selected performance examples, it is illustrated to what extent references to sex work in drag are by no means stagings of misogynistic clichés, but rather feed on common experiences of marginalization. This reveals clear analogies to discourses with regard to female stage actors, as they were first described as precariously employed in German-speaking countries around 1900.
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