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Berto_Tony_201307_PhD .pdf - University of Guelph

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113<br />

25). Sinfield writes that "subordinated groups do not control their own representations" and<br />

thus the ability for a subject to change from being perceived as effeminate is not always<br />

under the subject's control (Sinfield, Wilde 46). Contemporary and historical theatre has<br />

numerous narratives in which men attempt to control to little or no avail, perceptions that<br />

they are effeminate (such as in Tea and Sympathy, or The Birdcage). Elliot's editing <strong>of</strong> his<br />

speech on swans illustrates his inability to change others' perception <strong>of</strong> him, as he is<br />

sexually harassed immediately after its delivery. In earlier drafts <strong>of</strong> the play, Elliot<br />

desperately tries to eradicate signs <strong>of</strong> his effeminacy (MacLennan, Shooting 30 March 1997<br />

Draft 30). Even for males who can control their public perception to minimise a suggestion<br />

<strong>of</strong> effeminacy, such behaviours can be considered as enforced and falsifying an individual's<br />

natural way <strong>of</strong> being. This resonates with gay men returning to, or being forced to stay in,<br />

the closet. Such behaviors have long been considered damaging to an individual's<br />

psychological well-being (Adams 238). Elliot's sexual preference is not made available to a<br />

reader at play's end, but I contend that most readers would not presume it to have changed<br />

because most Canadians believe homosexuality is an in-born part <strong>of</strong> a person's character<br />

(Angus-Reid). When Elliot ceases to be effeminate, he appears closer to a heteronormative<br />

alignment between gender performance and biological sex which seems to signify what, in<br />

his own words, it means to be "fine" (MacLennan, Shooting 90). While the play partially<br />

disengages effeminacy from homosexuality, and thus proposes that homosexuality is "fine,"<br />

The Shooting Stage <strong>of</strong>fers a problematic depiction <strong>of</strong> effeminacy. It presents it as the<br />

impetus for Elliot's torment, and replays heteronormative constructs <strong>of</strong> power where<br />

gendered performances that deviate from a masculine primacy are controlled violently.<br />

While the text shows how non-normative expressions <strong>of</strong> gender can evoke homophobic

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