Lin collapses when her brother disappears. The other characters are governess Ellen, uncle Harry, Mrs. I found it interesting and surprising at the same time how provocative and open about sexuality, sex and gender this play was.
How did the family react to the violent shooting? However, for the purpose of this discussion, only Joshua, Victoria, Clive, Edward, and Betty will be discussed in regards to their emblematic transformations. I liked that Churchill found a comedic and somehow ridiculous way to challenge the concepts of gender and sexuality and the very limited way societies often get to interpret them.
Harry, for instance, has a sexual relationship with a little boy. Gerry tells the audience about an affair he had with a stranger on a train. Churchill explains her reason for this in the introduction: The Quest for Identity In Act I, for the characters to act on their true feelings, they must do so in secret, at one point during a game of hide and seek.
Oxford University Press,p. Perhaps most striking, is though the audience can see that clearly his family is oppressed to the point that they are played by members of the opposite sex, Clive literally cannot see their mutated forms because he wants so dearly to see only what he wants to see.
I often forgot that Joshua is white and Betty is a man, because I got so immersed into the content of the play that I would forget how the message could change depending on the actors playing the characters.
Act II has a looser structure, and Churchill played around with the ordering of the scenes. Themes The Confusion of Gender Churchill first demonstrates a sort of gender mismatch with her casting specifications.
Even those characters not played by opposite-sex actors have nontraditional sexual orientations. In so doing, the characters are unable to transform back into their true beings until he dies.
Churchill complicates the gender confusion with a sexual confusion. Sexual oppression is perhaps the most obvious theme running parallel to colonialism within the play, also emerging with the characterization itself.
Saunders when he and Mrs. Victoria, upset and distant from Martin, starts a lesbian relationship with Lin. Joshua, a black man who becomes white to please the whites, finally challenges his oppressor, and then vanishes.
Moreover, with a conspicuously literal creative twist, Churchill employs the characters themselves in demonstrating the acute form of colonial oppression that she mocks so profoundly. Act 1 ends with the wedding celebrations; the final scene is Clive giving a speech while Joshua is pointing a gun at him.
Later, Harry asks Joshua to have sex with him, and they leave for the barn together. A brief panic ensues before they find him. Finally, Clive serves as the ultimate oppressor and innocently smothers his family with his African ideals. Whereas women are expected to be feminine and ideal wives because of the mere fact that they are woman, Churchill plays around this idea by casting a male to represent the perfect wife of a British colonial administrator.
Since neither Joshua nor Clive appear in Act II, a reader is only left with the implications of the narrative. Table of Contents Plot Overview Clive, his wife Betty, son Edward, daughter Victoria, mother-in- law Maud, governess Ellen and servant Joshua welcome the audience to his African home with a song paying tribute to England.
I hate my tribe.
Act II "focuses on changes in the structure of power and authority, as they affect sex and relationships," from the male-dominated structure in the first act. When all but Betty and Clive leave for the verandah, Clive tells Betty that he knows about her affair with Harry. However, such beliefs are broken, when we see how Joshua is treated, although he is white.
Betty punishes Edward by slapping him, and Clive allows Betty to attack Mrs. Betty does not value herself as a woman. At the wedding party that follows, Mrs.
Most curious of all, a reader never gets to know what happened after that fateful moment. All but Gerry and Betty leave. When Gerry leaves Edward, Edward, who discovers he is in fact bisexual, moves in with his sister and Lin.In Caryl Churchill’s Cloud 9, two themes emerge as paramount in understanding what hides behind the chaos disguising the meaning of the play.
Churchill’s choice of colonialism and sexual oppression become apparent in her purposefully unambiguous euphemisms and transcendent theme combination. When Cloud 9 opened in most audience members probably tended to think of gender as a black and white thing—you're either male or female, case closed.
But in this play, Churchill offers up the idea that maybe gender isn't based on biology at all. Study Guide for Cloud 9. Cloud 9 study guide contains a biography of Caryl Churchill, quiz questions, major themes, characters, and a full summary and analysis.
May 20, · ''CLOUD 9,'' a new comedy by a British writer named Caryl Churchill, may not transport the audience all the way to Cloud 9 - but it surely keeps us on our toes. The evening's subject is. This dissertation analyzes Caryl Churchill’s Cloud Nine () with the help of an eclectic theoretical framework enriched with a critical approach drawn from the ideas prevalent around the discussions of feminism, gender politics, and the construction and the representation of gendered identities.
Cloud 9 is a two-act play written by British playwright Caryl Churchill, workshopped with the Joint Stock Theatre Company in late and premiered at Dartington College of Arts, Devon, on 14 FebruaryDownload