This book deals with one particular aspect of British drama between the 1890s and the late 20th century: ‘queerness’. ‘Queerness’ is a term that in the last two decades has come to be used predominantly to refer to manifestations of homosexuality, male and female, and otherness.
In total, this book concentrates on four examples: The Importance of Being Earnest by Oscar Wilde, What the Butler Saw by Joe Orton, Boom Bang-A-Bang by Jonathan Harvey and Handbag by Mark Ravenhill. These works are analysed with sections concentrating on figure conception and characterisation and additionally discourse and language use. Furthermore, an introduction to drama theory, discourse theory and ‘queer theories’ will be given as well as some preliminary definitions of ‘homosexuality’, ‘queerness’, ‘heteronormativity’ and ‘otherness’.
From the text:
- Discourse Theory;
- Queer Theory;
- Oscar Wilde;
- Joe Orton;
- Jonathan Harvey;
- Mark Ravenhill
Table of Contents
Introduction
1 Theory
1.1 Drama Theory
1.2 Discourse Theory
1.3 Queer Theories
1.4 Some Preliminary Definitions
2 Handbag and The Importance of Being Earnest
2.1 Figure Conception and Characterisation in Handbag and The Importance of Being Earnest
2.2 Discourse and Language Use in Handbag and The Importance of Being Earnest
2.3 Brief Summary of Interim Findings I
3 Handbag and What the Butler Saw
3.1 Figure Conception and Characterisation in Handbag and What the Butler Saw
3.2 Discourse and Language Use in Handbag and What the Butler Saw
3.3 Brief Summary of Interim Findings II
4 Handbag and Boom Bang-A-Bang
4.1 Figure Conception and Characterisation in Handbag and Boom Bang-A-Bang
4.2 Discourse and Language Use in Handbag and Boom Bang-A-Bang
5 Conclusion
Objectives & Themes
This study examines the multifaceted concept of 'queerness' within British drama from the 1890s to the end of the 20th century. By analyzing four key plays—Oscar Wilde's The Importance of Being Earnest, Joe Orton's What the Butler Saw, Jonathan Harvey's Boom Bang-A-Bang, and Mark Ravenhill's Handbag—the research explores how 'queerness' functions as a subversive force that challenges normative conventions, gender roles, and societal structures beyond explicit representations of homosexuality.
- The theoretical application of drama theory, Foucault’s discourse analysis, and queer theories.
- The deconstruction of binary oppositions such as naturalness vs. artificiality and fact vs. fiction.
- An examination of language use, power structures, and the performative nature of identity.
- The critique of heteronormative social orders and the patriarchal family structure.
- The evolution of 'queer' discourse from late Victorian farce to the 'post-queer' sensibilities of the late 20th century.
Excerpt from the Book
2.1.1 From the Margins to the Centre: Backstage Characters
The ensembles of figures that appear in Earnest and Handbag seem to be roughly equivalent, with Earnest counting nine figures as dramatis personae and Handbag eleven (IBE: 3; Hbg: 144). Nevertheless, the total numbers of characters are astoundingly divergent. The number of backstage characters in Earnest does not only exceed that in Handbag, but even exceeds the number of characters that are part of its own dramatis personae, which is a rare phenomenon in any dramatic genre. Firstly, there are those backstage characters whose significance for the development of the plot is quite central. Those are Mr Thomas Cardew, Lord Bracknell, and of course the late General Ernest John Moncrieff. Secondly, however, there is also a multitude of others, who at first glance seem to be mentioned without any relevance whatsoever. To name but a few, there is Mary Farquhar “who always flirts with her own husband” (IBE: 16, I, 246f.), Lady Dumbleton who “has been thirty-five ever since she arrived [in London] at the age of forty” (IBE: 94, III, 264f.), and the strangely transformed Lady Lancing whom “her own husband did not know” after she had employed a “thoroughly experienced French maid” (IBE: 90, III, 171f.). The question that arises is what one is to make of this bewildering presence of so many characters who are physically absent to the action.
Summary of Chapters
1 Theory: Introduces drama theory, Foucault's discourse theory, and queer theories as the analytical framework for examining the selected plays.
2 Handbag and The Importance of Being Earnest: Explores the subversive power of farce and the disruption of patriarchal order by contrasting Wilde’s Victorian classic with Ravenhill’s contemporary adaptation.
3 Handbag and What the Butler Saw: Analyzes Orton’s parody of farcical conventions and the use of authority-based exclusion strategies in an asylum setting.
4 Handbag and Boom Bang-A-Bang: Examines Harvey’s play through the lens of identity formation, the use of stereotypes, and the shifting dynamics of exclusionary discourses within homosexual communities.
5 Conclusion: Synthesizes the findings, affirming that the plays collectively represent a 'will to question' and move toward a 'post-queer' dissolution of binary sexual categories.
Keywords
Queerness, British Drama, Discourse Theory, Queer Theories, Foucault, Farce, Gender Roles, Identity Formation, Heteronormativity, Otherness, Patriarchal Order, Subversion, Performativity, Language Use, Post-queer.
Frequently Asked Questions
What is the primary focus of this study?
The study explores the concept of 'queerness' in British drama from 1890 to 2000, focusing on how plays use language and subversion to challenge social norms and categorical definitions.
Which specific playwrights and works are analyzed?
The analysis focuses on Oscar Wilde's The Importance of Being Earnest, Joe Orton's What the Butler Saw, Jonathan Harvey's Boom Bang-A-Bang, and Mark Ravenhill's Handbag.
What is the central research objective?
The objective is to demonstrate that 'queerness' can manifest in plays through the questioning of conventions and normativity, even without explicit depictions of homosexual characters or acts.
Which theoretical methods are employed?
The author utilizes drama theory (following Manfred Pfister), Michel Foucault’s discourse theory, and contemporary 'queer theories' to unpack the subversive potential of the texts.
What is treated in the main body chapters?
The main chapters provide comparative analyses, placing Ravenhill's Handbag in contrast with the other three playwrights to highlight evolving perceptions of identity, authority, and language.
What key terminology defines this work?
Key terms include 'queerness', 'heteronormativity', 'otherness', 'discourse', 'farce', and 'identity formation'.
How does Wilde's work challenge Victorian morals?
Wilde uses the genre of farce to dissolve binary oppositions like 'natural' vs. 'artificial', suggesting that Victorian order is merely a construct that can be subverted through wit and deception.
What is the role of 'cliché' in the analyzed plays?
Clichés are often used as tools for subversion; while they typically de-individualize, the playwrights discussed (particularly Orton and Harvey) force these clichés to call attention to themselves, thereby exposing the absurdity of the societal norms they represent.
How does the study interpret the 'happy ending' in these farces?
The study argues that these endings are often deceptive or ironic; they restore an outward 'happy' order while underlying anarchy and subversion remain intact, forcing the audience to re-evaluate the social structures presented.
- Citar trabajo
- Hanna Kubowitz (Autor), 2004, Queerness in British Drama between 1890-2000, Múnich, GRIN Verlag, https://www.grin.com/document/367460
