Men at Play: Masculinities in Australian Theatre since the by Jonathan Bollen, Adrian Kiernander, Bruce Parr

By Jonathan Bollen, Adrian Kiernander, Bruce Parr

How are masculinities enacted in Australian theatre? How do Australian playwrights depict masculinities within the current and the earlier, within the bush and at the seashore, within the urban and within the suburbs? How do Australian performs dramatise gender matters like father-son family, romance and intimacy, violence and bullying, mateship and homosexuality, race family among males, and men's reports of battle and migration? males at Play explores theatre's position in providing and contesting photographs of masculinity in Australia. It levels from often-produced performs of the Fifties to profitable modern performs - from Dick Diamond's Reedy River, Ray Lawler's summer time of the 17th Doll, Richard Beynon's The moving center and Alan Seymour's the single Day of the yr to David Williamson's Sons of Cain, Richard Barrett's The Heartbreak child, Gordon Graham's the lads and Nick Enright's Blackrock. The booklet seems to be at performs as they're produced within the theatre and masculinity because it is enacted at the level. it truly is written in an available type for college kids and academics in drama at collage and senior highschool. The book's contribution to modern debates approximately masculinity also will curiosity students in gender, race and sexuality reviews, literary stories and Australian historical past.

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Extra resources for Men at Play: Masculinities in Australian Theatre since the 1950s. (Australian Playwrights Monograph)

Sample text

Hunt was an Englishman, a man of the theatre, with a taste for the eloquent language of the classical repertoire. S. Eliot’s Murder in the Cathedral in his time as director of the AETT. Striking a clear contrast with the linguistic eloquence of British theatre, Australian-born theatre director Wal Cherry described Summer of the Seventeenth Doll as a play of “the inarticulate people” in which “actions speak louder than words” and “the inarticulate nature turns to violence, as it must” (Cherry 1956; reprinted in Holloway 1987: 186–187).

In the past, shown in a flashback sequence, Mary has demanded of him, “I’m only asking what every woman has the right to ask—that her husband be around to look after her when she has her baby”—and at that point he can only reply, “You’re the best wife in the world, but I reckon I don’t amount to much of a husband” (28). 2 Joe needs to resolve the conflicting versions of masculinity, claiming that his solidarity with the men in the Shearers’ Union and 2 The first production of Reedy River anticipates by seven years a parallel treatment of the same situation in the film The Magnificent Seven (1960), where the youngest of the gunfighters (Chico, played by Horst Buchholz) decides at the end, after a debate which runs through the entire movie about traditional and new roles for men, to relinquish the man-among-men life and instead settle down in the village to marry the woman he has fallen in love with.

At the start of the musical, Daniel arrives in the town in search of the woman who has saved his life. Almost immediately after finding and proposing to Jane he discovers a gold nugget which enables him seriously to contemplate the practicalities of married life. Lola’s arrival is not an enabling device for the romantic plot; on the contrary, she is the obstacle in the path of true love, and one who comes darkly close to wrecking Daniel and Jane’s relationship, and, by extension, the domestic stability of the wider society.

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