Berto_Tony_201307_PhD .pdf - University of Guelph

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ABSTRACT ARE WE THERE YET? REPRESENTATIONS OF GAY MEN IN CONTEMPORARY CANADIAN THEATRE Tony Berto University of Guelph, 2013 Advisor: Professor Ann Wilson This study acknowledges that historical antipathies towards gay men have marginalised their theatrical representation in the past. However, over the last century a change has occurred in the social location of gay men in Canada (from being marginalised to being included). Given these changes, questions arise as to whether staged representations of gay men are still marginalised today. Given antipathies towards homosexuality and homophobia may contribute to the how theatres determine the riskiness of productions, my investigation sought a correlation between financial risk in theatrical production and the marginalisation of gay representations on stage. Furthermore, given that gay sex itself, and its representation on stage, have been theorised as loci of antipathies to gayness, I investigate the relationship between the visibility and overtness of gay sex in a given play and the production of that play’s proximity to the mainstream. The study located four plays from across the spectrum of production conditions (from high to low financial risk) in BC. Analysis of these four plays shows general trends, not only in the plays’ constructions but also in the material conditions of their productions that indicate that gay representations become more overt, visible and sexually explicit when less financial risk was at stake. Various factors are identified –
including the development of the script, the producing theatre, venue, and promotion of the production – that shape gay representation. The analysis reveals that historical theatrical practices, that have had the effect of marginalizing the representations of gays in the past, are still in place. These practices appear more prevalent the higher the financial risk of the production.
Page 1: Are We There Yet? Gay Representatio
Page 5 and 6: v TABLE OF CONTENTS 1. Contexts of
Page 7 and 8: 2 These seemingly contrary position
Page 9 and 10: 4 desire: “it is the possibility
Page 11 and 12: 6 express sexual desire between men
Page 13 and 14: 8 investigating this experience is
Page 15 and 16: 10 Late in the nineteenth century,
Page 17 and 18: 12 also indicate same sex activity
Page 19 and 20: 14 focus on homosexuality’s trans
Page 21 and 22: 16 included meeting places, network
Page 23 and 24: 18 Canadian system to be directly i
Page 25 and 26: 20 laws were altered to allow conse
Page 27 and 28: 22 1999, community reaction occurre
Page 29 and 30: 24 decade after sexual orientation
Page 31 and 32: 26 sixties, social, commercial, and
Page 33 and 34: 28 with character traits and narrat
Page 35 and 36: 30 Gay Theatre in Canada Gay Canadi
Page 37 and 38: 32 “alternative” to regional th
Page 39 and 40: 34 themes nor mounted them as broad
Page 41 and 42: 36 audiences enough to maintain a d
Page 43 and 44: 38 Mainstream productions are works
Page 45 and 46: 40 ideologies of the arts councils
Page 47 and 48: 42 study as "project-based theatres
Page 49 and 50: 44 employees, design, location, his
Page 51 and 52: 46 even given any notice at all. Fu
Page 53 and 54:
48 scripts with gay presences I beg
Page 55 and 56:
50 Chapter Two: Historically Gay, C
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52 recognises how "broken" Williams
Page 59 and 60:
54 suggests. The play appears to tr
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56 financially and artistically, le
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58 discovered, Assistant scornfully
Page 65 and 66:
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
Page 71 and 72:
66 has resonances with the various
Page 73 and 74:
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
Page 87 and 88:
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
Page 109 and 110:
104 Chapter Three: 'Alternative' Th
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106 ideas of aestheticism, luxury a
Page 113 and 114:
108 politics of his environment, on
Page 115 and 116:
110 In the play's penultimate scene
Page 117 and 118:
112 who are effeminate, but illustr
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114 violence, and allows for a crit
Page 121 and 122:
116 Derrick, both youths are consci
Page 123 and 124:
118 When Ivan is threatened with ex
Page 125 and 126:
120 century gay theatrical represen
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122 Malcolm’s dead wife's closet,
Page 129 and 130:
124 homosexuality, they do undersco
Page 131 and 132:
126 One of the things [that dramatu
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128 play’s negative gay character
Page 135 and 136:
130 never had push-back (the play w
Page 137 and 138:
132 operate under the various Equit
Page 139 and 140:
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
Page 159 and 160:
154 who consume and those who work
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156 as a servanet, the abuse he end
Page 163 and 164:
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
Page 173 and 174:
168 signal his work’s incorporati
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170 a cowering Morgan (as Morley).
Page 177 and 178:
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
Page 189 and 190:
184 sexual assault and incest, whil
Page 191 and 192:
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
Page 197 and 198:
192 to “rewrite it for a cast com
Page 199 and 200:
194 sexual contact is not seen onst
Page 201 and 202:
196 One can speculate on reasons fo
Page 203 and 204:
198 a mainstream audience due to it
Page 205 and 206:
200 Chapter Five: A Battle of Value
Page 207 and 208:
202 Okanagan Valley, Grignard’s i
Page 209 and 210:
204 BERNARD: Don’t underestimate
Page 211 and 212:
206 actions. Gordon demands that th
Page 213 and 214:
208 HARVEY puts the apple into the
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210 potential infection or contagio
Page 217 and 218:
212 Harvey's intimate descriptions
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214 addressed, while others will fe
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216 homoerotic feeling (and to thus
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218 rather than less so, as occurre
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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
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228 of the lobby. The lack of set,
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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
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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
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252 on our stages? How might seeing
Page 259 and 260:
254 . . . today a gay male can turn
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256 beings”), questions arise: ho
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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 and 272:
266 this study use the term natural
Page 273 and 274:
268 Altman, Dennis Homosexualizatio
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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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