The representation of queer culture within Canadian literature, and more specifically theatre, can vary based on the multiple means that the playwright chooses to animate. In this instance, by differentiating French Canadian and Western Canadian queer theatre, we are able to analyze what drives each cultural representation. Montreal had experienced gay liberation in the mid 70’s, and theatre was empowered by such a movement to captivate audiences with the idea of a gay individual rather than a stereotype. (William, 2004) In western society, society and the government produced mostly pieces that educated on safe sex, relationships, and AIDS. (Stanton, 1996) Evidently, both areas produced equally different pieces that exhibited queer theatre in relevance to each play’s respective area.
“A diverse collection, which moves in a variety of directions. Some pieces are overtly theoretical, some more empirical, some descriptive, and some polemical. Some combine all of these approaches. They show the possible range in academic studies of gay and lesbian cultures in Canada. The dimensions of those cultures are complex and varied. Such a collection reflects that diversity.” (Goldie, 2001)
By showcasing the cultural importance of queer representation, and the diversity of such representation, we see first hand the significance and need to see this communicated through the theatre art form. French Canadian theatre has the tendency to often focus the play on the personage submersed within queer culture. English Canadian theatre is far more ensemble based, presenting characters engulfed in queer culture. By deconstructing the approaches that French Canadian playwright Steve Galluccio, Mambo Italiano, and English Canadi...
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... Canada, we are able to evoke a culture and its urgency into a philosophy and art form.
Works Cited
Galluccio, Steve. Mambo italiano. Vancouver: Talonbooks, 2004. Print.
Goldie, Terry. In a queer country: gay and lesbian studies in the Canadian context. Vancouver: Arsenal Pulp Press, 2001. Print.
Hannah, Don. In the lobster capital of the world. Toronto: Playwrights Canada Press, 1990. Print.
Leap, William, and Tom Boellstorff. Speaking in queer tongues: globalization and gay language. Urbana: University of Illinois Press, 2004. Print.
Stanton, Sarah, and Martin Banham. Cambridge paperback guide to theatre. Cambridge [etc. : Cambridge university press, 1996. Print.
Wagner, Anton. Establishing our boundaries: English-Canadian theatre criticism. Toronto: University of Toronto Press, 1999. Print.
According to Sherrie A. Inness, “The Captive was hauled by critics as the first play on the American stage to deal openly with what one reviewer called a “repulsive abnormality.” Ten years prior, God of Vengeance was scorned for offending rabbis, Jewish men and women’s religion and abusing the significance of the Torah. Critics and reviews failed to deliver their remarks on the intimate lesbian love, but in The Captive, the lesbian undertones are concealed and carried out in a strategic fashion, yet these moments were censored and triggered. Due to these moments where the acts of lesbianism were not apparent, it was deemed with obscurity, causing the play to fall short overall. Similar to God of Vengeance, The Captive was confronted with “obscenity charges in the United States, and after a run of less than five months, the play was raided and closed down by police” (Inness 304). With this framework in mind, my case study is not diminished by the greater public opinion, rather Edouard Bourdet’s strategic approach to lesbianism and the way in which is portrayed in society juxtaposed the emergence of lesbianism in the United States in the early part of the twentieth
Butler, Judith. "Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory." Theatre Journal 40.4 (1988): 519-31. The Johns Hopkins University Press. Web. 11 May 2011.
They mention the transition of “the closet,” as being a place in which people could not see you, to becoming a metaphor over the last two decades of the twentieth century used for queers who face a lack of sexual identity. Shneer and Aviv bring together two conflicting ideas of the American view of queerness: the ideas of the past, and the present. They state as queerness became more visible, people finally had the choice of living multiple lives, or integrating one’s lives and spaces (Shneer and Aviv 2006: 245). They highlight another change in the past twenty years as the clash between being queer and studying queerness (Shneer and Aviv 2006: 246-7). They argue that the active and visible contests over power among American queers show that queers now occupy an important place in our culture. They expand on the fact that queerness, real, and performed, is everywhere (Shneer and Aviv 2006: 248). This source shows the transformation in American culture of the acceptance of queerness. It makes an extremely critical resource by providing evidence of the changes in culture throughout the last two decades. Having the information that queerness is becoming more accepted in culture links to a higher percentage of LGBTQ youths becoming comfortable with their sexual identity. However, compared to the other sources, this
Varma, Rahul. “State of Denial: Cultural Diversity as a Resource for Alternative Globalization.” Canadian Theatre Review, Vol. 157. January 2014. Web.
Seidman, Steven, Nancy Fischer , and Chet Meeks. "Transsexual, transgender, and queer." New Sexuality Studies. North Carolina: Routledge, 2011. . Print.
It is difficult to imagine a play which is completely successful in portraying drama as Bertolt Brecht envisioned it to be. For many years before and since Brecht proposed his theory of “Epic Theatre”, writers, directors and actors have been focused on the vitality of entertaining the audience, and creating characters with which the spectator can empathize. ‘Epic Theatre’ believes that the actor-spectator relationship should be one of distinct separation, and that the spectator should learn from the actor rather than relate to him. Two contemporary plays that have been written in the last thirty years which examine and work with Brechtian ideals are ‘Fanshen’ by David Hare, and ‘The Laramie Project’ by Moises Kaufman. The question to be examined is whether either of these two plays are entirely successful in achieving what was later called, ‘The Alienation Effect”.
"Elizabethan Theatre Audiences." Elizabethan Theatre Audiences. Strayer University, 16 May 2012. Web. 24 Mar. 2014.
Butler, Judith. Ed. Case, Sue-Ellen. "Performative Acts and Gender Constitution." Performing Feminisms: Feminist Critical Theory and Theatre. Baltimore: The Johns Hopkins University Press, 1990.
Tatchell, Peter (1992). Europe in the Pink: Lesbian and Gay Equality in the New Europe. London: GMP.
In Tony Kushner’s Angels in America, the interconnection of people and events, that might ordinarily be viewed as disconnected or unrelated, is implicitly presented in the characters section. Dual roles are implemented by a playwright that has one actor portraying the roles of two or more characters, with or without thematic intentions. The use of “dual roles” in several scenes of this play can be viewed as a demonstration of Kushner’s effort in maintaining the interconnectedness between characters, communities (i.e. queer, heterosexual, AIDS and political communities) and events to which they are relative. This essay will argue that Kushner’s use of dual role’s effectively interconnects characters, events and their communities that may be seen as usually unrelated. Analysis of four specific characters, Antarctica, Oceania, Australia and Europa, in Act Five, Scene Five of “Perestroika”, will demonstrate the connection of each Act Five, Scene Five character, to the actors main character based on the implicit evidence presented in the actors “primary” and “secondary” roles, the scenes dialogue and the character interactions. As one will see, by implementing dual roles, Kushner is able to expand or preserve the concept of a major character while the actor portrays another character, keeping the audience from having to completely renegotiate their knowledge between what they physically see of new characters and actually use the new context to view triumphs and struggles for a major character.
Throughout various mediums, queer and gender portrayals are not shown in the best light. Majority of media show clear negative connotations of homosexuals and queens while constantly being a target of discrimination and ridicule. Though as time went on many writers decided to speak up and gain awareness for queer and gender biases by incorporating messages of societal discrimination in their plays. Much of their ideals were that of how sexual/gender identity portrayal, lifestyle stigma, and preconceived notions of the homosexual community. These ideals were combined in what is called gender studies and queer literary theory. Some of these concepts and ideas of queer and gender theory can be seen throughout the play
Halwani, Raja, Gary Jaeger, James Stramel, Richard Nunan, William Wilkerson, and Timothy Murphy. What Is Gay and Lesbian Philosophy? 2008. MS. Oxford, UK. San Diego Mesa College Academic Databases. Web. 10 Oct. 2011. .
In the face of a homophobic society we need creative and critical processes that draw out the complexity of lesbian lives and same sex choices, not a retreat into the comforting myths of heroines and unfractured, impeachable identities
In this paper, I will be focusing briefly on my knowledge and understanding of the concept of Applied theatre and one of its theatre form, which is Theatre in Education. The term Applied Theatre is a broad range of dramatic activity carried out by a crowd of diverse bodies and groups.
Theatre as we know it now was born more than two thousand years ago and has gone through many streams until it reached the current modernity. Among these streams is the avant-garde theatre. This theatre achieved a break in the traditional theatre and became the forefront of a new experimental theatre. Therefore it is necessary to ask how this theatre started, what impact it had on society and if this type of theatre is still common in our modern era.