Berto_Tony_201307_PhD .pdf - University of Guelph

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267 Works Cited "2011 Herman Voaden Playwriting Competition." Queen's University Drama Department. 2011. Web. 15 Apr. 2011. Adams, Tony E. "Paradoxes of Sexuality, Gay Identity, and the Closet." Symbolic Interaction. Vol. 33, No. 2 (Spring 2010), pp. 234-256. Alexandrowicz, Conrad. "About Wild excursions." Wild Excursions. 22 Dec. 2006. Web. 10 Sept 2009. ---. "Additional Notes." E-mail to author. 03 Nov. 2009. ---. Beggars Would Ride. Production Script with notes. E-mail from playwright. 7 Nov. 2007. ---. "Beggars Would Ride Script Development Workshop Report." 19 May 2005. E-mail to author. 17 Oct. 2009. ---. "Final Report: Beggars Would Ride." Submission to BC Arts Council. 2006. E-mail to author. 11 Nov. 2007. ---. "Past Productions." Wild Excursions. 22 Dec. 2006. Web. 10 Sept 2009. ---. "Re: a personal question." E-mail to author. 21 Oct. 2009. ---. "Re: BWR Program." E-mail to author. 02 Nov. 2009. ---. "Re: A few queries." E-mail to author. 26 Feb. 2009. ---. "Wild Excursions Blog." Wild Excursions. Blog. 05 Jan. 2007. Web. 18 Sept 2009. ---. "Wild Excursions Blog." Wild Excursions. Blog. 10 Jan. 2007. Web. 18 Sept 2009. ---. "Writer’s Notes." E-mail from playwright. 7 Nov. 2007. Al-Solaylee, Kamal. "Heartbreaking Greatness." The Globe and Mail Nov. 7 2007. Review. R4. Print.
268 Altman, Dennis Homosexualization of America: The Americanization of the Homosexual. New York: St. Martin's Press, 1982. Angelides, Stephen. "The Homosexualization of Pedophilia." Homophobias: Lust and Loathing Across Time and Space. Ed. David A. B. Murray. Durham: Duke UP, 2009. 63-82. Angus-Reid. Canadians and Britons Are More Open on Same-Sex Relations than Americans. Angus-Reid Public Opinion. 26 Jul. 2010. Web. 4 Mar. 2010. “Annual Review 2001.” Office of Cultural Affairs. City of Vancouver Cultural Policy, Planning & Research. 2002. Web 21 Sep. 2008.. Anthony, G. (ed). Stage Voices: Twelve Canadian Playwrights Talk about their Lives and Work. Toronto: Doubleday, 1978. Arch and Bruce Brown Foundation. The Brown Foundation. N.p. Web. 21 May 2009. "Archives." Straight.com. The Georgia Straight. 2007. Web. 24 Jan 2008. “Arts and Culture.” GranvilleIsland.com. N.d. Web 15 Aug 2012. "Arts Club Theatre Company." Buy Tickets. N.d.Web. 09 Jan. 2008. . ---. Past Seasons. N.d.Web. 09 Jan. 2008. ---. Teacher's Resource Guide. N.d. Web. 22 Jan. 2009. . Pdf. Babuscio, Jack. "Camp and the Gay Sensibility" in Camp Grounds: Style and Homosexuality. Ed. David Bergman. Amherst: U of Massachusetts P, 1993. 19-39.
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Are We There Yet? Gay Representatio
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including the development of the sc
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v TABLE OF CONTENTS 1. Contexts of
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2 These seemingly contrary position
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4 desire: “it is the possibility
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6 express sexual desire between men
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8 investigating this experience is
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10 Late in the nineteenth century,
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12 also indicate same sex activity
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14 focus on homosexuality’s trans
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16 included meeting places, network
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18 Canadian system to be directly i
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20 laws were altered to allow conse
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22 1999, community reaction occurre
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24 decade after sexual orientation
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26 sixties, social, commercial, and
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28 with character traits and narrat
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30 Gay Theatre in Canada Gay Canadi
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32 “alternative” to regional th
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34 themes nor mounted them as broad
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36 audiences enough to maintain a d
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38 Mainstream productions are works
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40 ideologies of the arts councils
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42 study as "project-based theatres
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44 employees, design, location, his
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46 even given any notice at all. Fu
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48 scripts with gay presences I beg
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50 Chapter Two: Historically Gay, C
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52 recognises how "broken" Williams
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54 suggests. The play appears to tr
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56 financially and artistically, le
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58 discovered, Assistant scornfully
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60 the effect of "lightening up" As
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62 ASSISTANT. Where did you get mon
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64 that emotions or "feelings" are
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66 has resonances with the various
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68 same-sex marriage debates, and a
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70 in Progress Festival, and dramat
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72 Intervention can be in the form
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74 terms of theatres accessing deve
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76 stage illegal and thus any repre
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78 watching Young Man strip to his
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80 subject. Both plays are written
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82 Theatre Company The Vancouver Ar
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84 underscores this message by crea
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86 cultural centre ("Granville"). T
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88 site’s adaptive re-use is inte
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90 any gay sexuality or potential s
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92 as a buffer between the performa
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94 project-based production, a frin
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96 dubbed 'young gentlemen' " (Birn
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98 play's central dramatic arc. Whi
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100 changed considerably since this
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102 dramaturgical tactics make the
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104 Chapter Three: 'Alternative' Th
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106 ideas of aestheticism, luxury a
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108 politics of his environment, on
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110 In the play's penultimate scene
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112 who are effeminate, but illustr
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114 violence, and allows for a crit
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116 Derrick, both youths are consci
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118 When Ivan is threatened with ex
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120 century gay theatrical represen
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122 Malcolm’s dead wife's closet,
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124 homosexuality, they do undersco
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126 One of the things [that dramatu
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128 play’s negative gay character
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130 never had push-back (the play w
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132 operate under the various Equit
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134 somewhat reminiscent of the bul
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136 “committed to creating multid
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138 location are acknowledged by th
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140 area was borne out when Robert
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142 architecture including: a forme
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144 viewing angle. The rake of the
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146 staging veers from such a sense
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148 escape tactic, removing the pos
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150 the artistic abilities that may
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152 dimensions to the text’s mean
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154 who consume and those who work
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156 as a servanet, the abuse he end
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158 The song tells about Frank’s
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160 also plays on class issues, whe
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162 And so, I purport and propose,
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164 quite the heart of a wolf to do
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166 has been anally penetrated thus
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168 signal his work’s incorporati
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170 a cowering Morgan (as Morley).
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172 along with a reproduction of th
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174 Cabaret Weimar-era cabaret in k
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176 themes would likely be recognis
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178 3). Babuscio goes further, and
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180 and her hair is dyed an unnatur
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182 structuralist theory, camp has
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184 sexual assault and incest, whil
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186 small” (Alexandrowicz, “Fin
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188 Stage and Set Beggars used a re
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190 wipes semen off his privates an
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192 to “rewrite it for a cast com
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194 sexual contact is not seen onst
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196 One can speculate on reasons fo
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198 a mainstream audience due to it
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200 Chapter Five: A Battle of Value
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202 Okanagan Valley, Grignard’s i
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204 BERNARD: Don’t underestimate
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206 actions. Gordon demands that th
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208 HARVEY puts the apple into the
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210 potential infection or contagio
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212 Harvey's intimate descriptions
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214 addressed, while others will fe
Page 221 and 222: 216 homoerotic feeling (and to thus
Page 223 and 224: 218 rather than less so, as occurre
Page 225 and 226: 220 Grignard applied for both Canad
Page 227 and 228: 222 The actors' presence in the BFA
Page 229 and 230: 224 Theatre Space Grignard rented t
Page 231 and 232: 226 Paul Matwychuk, in Edmonton, no
Page 233 and 234: 228 of the lobby. The lack of set,
Page 235 and 236: 230 core government, tourist, and c
Page 237 and 238: 232 undermines this presentation of
Page 239 and 240: 234 on these drives and tell me sto
Page 241 and 242: 236 Grignard created multiple sites
Page 243 and 244: 238 to a social-political action, t
Page 245 and 246: 240 led Grignard to hire students,
Page 247 and 248: 242 have had the effect of marginal
Page 249 and 250: 244 where the visibility of gay pre
Page 251 and 252: 246 trying to read a moment in a co
Page 253 and 254: 248 Simultaneously one might posit
Page 255 and 256: 250 chose the four plays for this s
Page 257 and 258: 252 on our stages? How might seeing
Page 259 and 260: 254 . . . today a gay male can turn
Page 261 and 262: 256 beings”), questions arise: ho
Page 263 and 264: 258 mental health (Bontempo 364; Gi
Page 265 and 266: 260 or disputing negative character
Page 267 and 268: 262 gay men as a way of reclaiming
Page 269 and 270: 264 In my own situation, as an audi
Page 271: 266 this study use the term natural
Page 275 and 276: 270 Berto, T. "Seeking Clues of Que
Page 277 and 278: 272 ---. Grant Application for Fire
Page 279 and 280: 274 CHRC. “Resources.” 1997 ann
Page 281 and 282: 276 Eds. Ann Snitow, Christine Stan
Page 283 and 284: 278 Freeman, Barbara. “From No Go
Page 285 and 286: 280 Theatre." Queer Theatre in Cana
Page 287 and 288: 282 ---. “Pioneering study finds
Page 289 and 290: 284 Little Sisters Book and Art Emp
Page 291 and 292: 286 Nestruck, Kelly and Guy Dixon.
Page 293 and 294: 288 Reuter, Donald F. Gay-2-Zee: A
Page 295 and 296: 290 Sova, Dawn B. Banned Plays: Cen
Page 297 and 298: 292 “Vancouver Agreement”. CONF
Page 299: 294 Yeats, W. B. Collected Works of
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