Çağdaş Amerikan tiyatrosunda transgender performatifliği ve öznelliği

Transgender studies, integrating discussions on essentialism and social constructionism in gender studies, provide a unique principal point that empowers the interpretation of alternative sexualities and the performance of non-traditional gender roles. The studies on differences between the biological sex and gender identities of transgender individuals decentralize conventional heteronormative understandings about bodies and identities. In addition to some significant debates on transgender authenticity, rage, visibility, agency, voice, transgression, and violence, transgender studies focus on the role of performativity and subjectivity attempting to understand transgender identities. Besides the theoretical perspective provided by transgender studies, transgender identities are also depicted and explored in the different genres such as fiction, non-fiction, films, musicals, and TV series. Also, in the theater genre, transgender identity is becoming more and more visible in which performativity and subjectivity are further questioned and scrutinized. These performances play a fundamental role in contributing narratives for identifying transgender individuals and positioning transgender individuals' subjectivity. This study concentrates on transgender performativity and subjectivity in three plays titled Hidden: A Gender (1989) by Kate Bornstein, I am My Own Wife (2003) by Doug Wright, and Tara's Crossing (2004) by Jeffrey Solomon. These plays not only represent the gender performances and subjectivity of transgender individuals but also challenge heteropatriarchy in contemporary world. Keywords: Gender, Transgender, Performativity, Subjectivity, Kate Bornstein, Hidden: A Gender, Jeffrey Solomon, Tara's Crossing, Doug Wright, I am My Own Wife.