Berto_Tony_201307_PhD .pdf - University of Guelph

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that emotions or "feelings" are not his concern, implying they are outside the realm of their
relationship as he now frames it.
These scenes show different aspects of Assistant and Playwright's relationship. It
exists along a continuum where its expression ranges from a strictly employment-based
arrangement to one that has the sexual attraction of a muse and artist, to an emotionally
intimate bond. Implied in the bond are emotional attachments, a degree of caring for each
other and a balance of power. The visibility of their relationship appears to determine which
end of the continuum is acknowledged. In the presence of an outsider, Playwright insists
that the relationship between himself and Assistant is based on employment. Playwright
thus publically distances himself from suggestions of love or an emotional attachment. In so
doing, he shows himself as available to other’s attentions. However, at times when
Playwright and Assistant are alone together, the other end of the continuum is seen, where
Assistant is also able to share in the control of their relationship and the two of them appear
to have an emotional investment in each other.
These complex narratives invite readers to question the characters’ lot and to
empathise with them. By the end of the play the couple’s future appears bleak and
uncertain, as both Assistant and Playwright are left in precarious positions. Their insecurity
promotes questions about their co-dependent relationship, including its financial aspects.
Assistant performed duties that allowed the two men to maintain a degree of fiscal
solvency. Without Assistant, Playwright seems unable to care for himself and earn an
income. This is made clear when Assistant instructs Young Man in what is involved in
Playwright's care: "he's got to be off the booze for at least three days before the teaching or
you'll never get him in the classroom . . . [and you] don't want to get blacklisted from