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Berto_Tony_201307_PhD .pdf - University of Guelph

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241<br />

Chapter Six: Conclusions, Implications and New Directions<br />

This dissertation began by asking questions about how homosexuality is presented<br />

in our contemporary theatre. Historical antipathies have marginalised the theatrical<br />

presentations <strong>of</strong> gay men on stage in the past, and over the last century a change has<br />

occurred in the social location <strong>of</strong> gay men in Canada (from being marginalised to being<br />

included). In this thesis I consider the kinds <strong>of</strong> representations we find on our stages now, in<br />

this century. I explore whether these representations have evolved in step with the changes<br />

in gay men’s social location, or whether some theatrical representations <strong>of</strong> gay men remain<br />

marginalised in various ways. Given antipathies towards homosexuality and homophobia<br />

have the potential to affect theatrical production most where financial risk is highest, I<br />

propose that where there are significant commercial interests in theatrical production<br />

(usually in mainstream theatre), gay representations are more likely to be marginalised.<br />

Furthermore, given that gay sex itself, and its representation on stage (through embodied<br />

homosexualities or discourses and narratives <strong>of</strong> gay sex) have been theorised as a locus <strong>of</strong><br />

antipathies to gayness, I propose that the sexual aspects <strong>of</strong> gay representations vary in their<br />

visibility and overtness depending on the production’s proximity to the mainstream.<br />

The analysis <strong>of</strong> these four plays shows general trends, not only in the plays’<br />

construction but also in the material conditions <strong>of</strong> their productions, that indicate the gay<br />

representations become more overt, visible and sexually explicit the further from the<br />

mainstream they are presented, indicating a correlation between the representation and its<br />

location. I identify various factors – including the development <strong>of</strong> the script, the producing<br />

theatre, venue, and promotion <strong>of</strong> the production, that shape gay representation. This<br />

analysis reveals how theatrical practices originating in the last century, practices that may

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