SEXUAL
ORIENTATION AND GENDER BASED ON VICTORIAN AND MODERN PERSPECTIVES IN CHARYL
CHURCHILL’S CLOUD 9
By Annisa Rahmi Pratiwi
Abstract:
In
this paper, the writer tries to analyze a drama entitled “Cloud 9” by Charyl
Churchill. The purpose of this writing is to analyze the different perspective
toward sexual orientation and gender on Victorian Age and Modern Age. Theories that
used are textual, contextual, and hypertextual by using close reading method. From
analyzing the play, the writer find that people in Victorian Era still assumed
sexuality as a taboo topic to talk about and man still dominated the authority
while the Modern Era acted conversly.
Keywords:
Sexuality, Sexual Orientation, Gender, Charyl Churchill, Cloud 9
1. Introduction
Cloud 9
is a play written by Caryl Churchill. The characters in this play are Clive,
Betty, Edward, Victoria, Harry Bagley, Mrs. Saunders, Lin, Martin, Ellen,
Garry, Joshua, Cathy, Maud and Tommy. This play has two acts and nine scenes.
The setting of this play taken in Victorian Era and Modern Era which have
different perspective toward sexuality and gender issue.
2. Methodology
-
Analyzing how sexual orientation and
gender could have different perspective in the different era.
3. Research
Object
The objects of research are sorted into a material and
formal object. Material object in this study is
Cloud 9.
4. Biography
and The Story
This
section will discuss the biography of Cary Churchill and the play.
4.1 Biography
Playwright
Caryl Churchill was born on 3 September 1938 in London and grew up in the Lake
District and in Montreal. She was educated at Lady Margaret Hall, Oxford, where
she read English. Downstairs, her first play, was written while she
was still at university, was first staged in 1958 and won an award at the
Sunday Times National Union of Students Drama Festival. She wrote a number of
plays for BBC radio including The Ants (1962), Lovesick (1967) and Abortive
(1971). The Judge's Wife was televised by the BBC in 1972 and Owners,
her first professional stage production, premiered at the Royal Court Theatre
in London in the same year.
She was Resident Dramatist at the Royal Court (1974-5) and spent much of the 1970s and 1980s working with the theatre groups 'Joint Stock' and 'Monstrous Regiment'. Her work during this period includes Light Shining in Buckinghamshire (1976), Cloud Nine (1979), Fen (1983) and A Mouthful of Birds (1986), written with David Lan. Three More Sleepless Nights was first produced at the Soho Poly, London.
Top Girls brings together five historical female characters at a dinner party in a London restaurant given by Marlene, the new managing director of 'Top Girls' employment agency. The play was first staged at the Royal Court in 1982, directed by Max Stafford-Clark. It transferred to Joseph Papp's Public Theatre in New York later that year. Serious Money was first produced at the Royal Court in 1987 and won the Evening Standard Award for Best Comedy of the Year and the Laurence Olivier/BBC Award for Best New Play. More recent plays include Mad Forest (1990), written after a visit to Romania, and The Skriker (1994). Her plays for television include The After Dinner Joke (1978) and Crimes (1982). Far Away premiered at the Royal Court in 2000, directed by Stephen Daldry. She has also published a new translation of Seneca's Thyestes (2001), and A Number (2002), which addresses the subject of human cloning. Her new version of August Strindberg's A Dream Play (2005), premiered at the National Theatre in 2005. Her plays since then have included Seven Jewish Children - a play for Gaza (2009), Love and Information (2012), Ding Dong the Wicked (2013) and Here We Go (2015).
She was Resident Dramatist at the Royal Court (1974-5) and spent much of the 1970s and 1980s working with the theatre groups 'Joint Stock' and 'Monstrous Regiment'. Her work during this period includes Light Shining in Buckinghamshire (1976), Cloud Nine (1979), Fen (1983) and A Mouthful of Birds (1986), written with David Lan. Three More Sleepless Nights was first produced at the Soho Poly, London.
Top Girls brings together five historical female characters at a dinner party in a London restaurant given by Marlene, the new managing director of 'Top Girls' employment agency. The play was first staged at the Royal Court in 1982, directed by Max Stafford-Clark. It transferred to Joseph Papp's Public Theatre in New York later that year. Serious Money was first produced at the Royal Court in 1987 and won the Evening Standard Award for Best Comedy of the Year and the Laurence Olivier/BBC Award for Best New Play. More recent plays include Mad Forest (1990), written after a visit to Romania, and The Skriker (1994). Her plays for television include The After Dinner Joke (1978) and Crimes (1982). Far Away premiered at the Royal Court in 2000, directed by Stephen Daldry. She has also published a new translation of Seneca's Thyestes (2001), and A Number (2002), which addresses the subject of human cloning. Her new version of August Strindberg's A Dream Play (2005), premiered at the National Theatre in 2005. Her plays since then have included Seven Jewish Children - a play for Gaza (2009), Love and Information (2012), Ding Dong the Wicked (2013) and Here We Go (2015).
Caryl
Churchill lives in London. Her latest play is Escaped Alone (2015),
which premiered at the Royal Court Theatre in January 2016.
4.2 The
Story
The first act
is set in British colonial Africa and explores the issues of racism, sexism,
colonial oppression, and marital relationships. 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. Clive returns home after spending the day managing the troubles among
local tribes.
When Clive
learns that Joshua has been rude to Betty, he scolds Joshua. After that, the
family welcomes Harry Bagley and Mrs. Saunders. Harry, an explorer, visits the
family between expeditions. Mrs. Saunders, a widow, arrives exhausted, seeking
protection from the natives. Betty and Harry flirt, revealing their attraction
for one another. Later, Harry asks Joshua to have sex with him.
Clive chases Mrs. Saunders away from the house, and, after a brief argument, performs oral sex on her. To escape suspicion, they quickly return to the family's Christmas picnic. During play the game which Edward and Harry reveal that they have a sexual history. Edward hopes to rekindle this relationship, but Harry is hesitant to approve. Meanwhile, Ellen professes her love for Betty. Betty, still smitten with Harry, dismisses Ellen's comments as ridiculous.
Clive chases Mrs. Saunders away from the house, and, after a brief argument, performs oral sex on her. To escape suspicion, they quickly return to the family's Christmas picnic. During play the game which Edward and Harry reveal that they have a sexual history. Edward hopes to rekindle this relationship, but Harry is hesitant to approve. Meanwhile, Ellen professes her love for Betty. Betty, still smitten with Harry, dismisses Ellen's comments as ridiculous.
Later, Clive
and the men flog the natives as the women wait inside the house. Mrs. Saunders,
disapproving, leaves to find out what exactly the men are doing. When Clive
returns from the flogging, Clive tells Betty that he knows about her desire for
Harry. He lectures her on the necessity to resist lust, and then he forgives
her.
In order to
seek a cure for Harry's perversity, Clive attempts to marry Harry to Mrs. Saunders.
She refuses the offer. As tension grows among the natives, news that Joshua's
parents have been killed by British troops distracts Clive momentarily, as he
offers his condolences to Joshua. When Clive turns his attention back to Harry,
he forces an engagement between Harry and Ellen. At the wedding party that
follows. When Clive goes to toast the newly engaged couple, Joshua raises a gun
to shoot Clive. Edward sees this action, but does not warn Clive.
Act II
explores many of the same issues as Act I. However, Act II is set one hundred
years later in London, England. At first, Victoria appears in a London park on
a winter afternoon with Lin and Lin's daughter Cathy. When Cathy exits to play
elsewhere, Lin informs Victoria that she is a lesbian, and she asks Victoria to
go to a movie with her. Edward, now a gardener, rambles with Betty. Betty talks
to Edward that she is considering leaving Clive. Betty lets Cathy play with her
jewelry.
In the
spring, Edward's lover Gerry comes to the park, where they argue about Gerry's
lack of commitment. Someday, when Lin and Cathy get into a fight, they lose
track of Victoria's son Tommy. A brief panic ensues before they find him. Gerry
and Edward return, and Gerry breaks up with Edward.
Later, on a
summer night, Lin, Victoria, and Edward come to the park to hold a ceremony for
a sex goddess. Moments later, Lin's dead brother appears and relates the
experience of his service in the army. Lin collapses when her brother
disappears.
By late summer, Lin, Victoria, and Edward have moved in together. Betty has rediscovered the joy of masturbation. Gerry and Edward reconcile and make plans to go out some time. On a trip to get ice cream, the Dead Hand Gang assaults Cathy, bleeding her nose. Martin and Lin fight over who is supposed to be looking after Cathy. All but Gerry and Betty leave. In her discussion with Gerry, Betty comes to terms with the fact that Edward is homosexual. Betty from Africa returns and embraces the new Betty.
By late summer, Lin, Victoria, and Edward have moved in together. Betty has rediscovered the joy of masturbation. Gerry and Edward reconcile and make plans to go out some time. On a trip to get ice cream, the Dead Hand Gang assaults Cathy, bleeding her nose. Martin and Lin fight over who is supposed to be looking after Cathy. All but Gerry and Betty leave. In her discussion with Gerry, Betty comes to terms with the fact that Edward is homosexual. Betty from Africa returns and embraces the new Betty.
5. Discussion
The
element’s discussion is focused on how sexuality and gender have different
perspective in Victorian Era and Modern Era.
This
play has two acts. Act one takes setting in Victorian era and act two setting’s
is in Modern Era. As we know, this play raised the issue of sexuality and gender
as reflected from the characters act. Edward, Harry, and Gerry are the
reflection of homosexual issue while Betty, Ellen, Victoria, and Lin are the
reflection of lesbian issue.
Edward. Harry, I love you.
Harry. Yes, I know. I love you too.
Edward. You know what we did when you were here before. I want to
do it again. I think about it all the time. I try to do it to myself but it’s
not as good. Don’t you want to try anymore?
Harry. I do, but it’s a sin and crime and it’s also wrong.
(Act 1, scene 2)
Betty. Yes, oh I want him to kiss me again.
Ellen. Like this Betty?
Ellen kisses Betty.
Betty. Ellen, whatever are you doing? It’s not a joke.
Ellen. I’m sorry, Betty. You’re so pretty. Harry bagley doesn’t deserve
you. You wouldn’t really go away with him? (Act 1, scene 2)
The
quotations above are from Act one which takes setting in Victorian Era. We can
see that the both couple have the tendency of same sex love. But in Victorian
Era, it is forbidde. As Harry said, it is as same as sin and it was a crime.
Victorian
age culture and literature rarely contained homosexual content. It was seen as
a taboo, something that should not be discussed because it was regarded a sin
and a crime. Through most of the nineteenth century, homosexuality was illegal
and punished by death. 80 men were hung in Great Britain in between 1800 to
1834, when this punishment was replaced with life imprisonment. During this century, other repressive reforms
against minorities, such as slavery, were abolished, but homosexuality remained
despised and punishable.
Lin. And your husband? How do you
get on with him?
Victoria. Oh, fine. Up and down. You know. Very well.
He helps me with the washing up and everything.
Lin. I left mine two years ago. He let
me keep Cathy and I’m grateful for that.
Victoria. You shouldn’t be grateful.
Lin. I’m a lesbian. (Act 2, scene 1)
Edward. Gerry, I love you.
Gerry. Yes, I know. I love you too. (Act
2, scene 3)
The conversation above takes place in modern
era. We can see that here they can express their same-sex love freely. In this
era, people already can accept the same-sex love. Maybe not all people, but it
is better that in Victorian era which still assume this issue as crime. People in
this era already know about human rights and they don’t really care about other
people’s sexual preference.
Clive. .....My wife is all I dreamt a wife should
be, and everything she is she owes to me.
Betty. I live for Clive. The whole aim of my life is
to be what he looks for in a wife. I am a man’s creation as you see, and what
men want is what I want to be. (Act 1, scene 1)
In Victorian era, women and men have their
own role. As the conversation above, we can see that Clive has a wife he dreamt
and Betty said that she aim her life to be a wife Clive wanted. To be a person
Clive wants, Betty allowed herself to be created by Clive. She couldn’t express
herself freely. Betty is the representation of women in Victorian era who devoted
their life to be a trophy wife for their husband. A
woman’s career in the nineteenth century was marriage. In the Victorian Era,
women were considered delicate and fragile humans who were incapable of making
their own decisions. They were only useful for bearing and raising their
children with moral, and maintaining the household. Men commuted to their jobs
everyday, not having to worry about any domestic duties that were handled by
the women. Their roles in society were very different, and made it clear
what their positions in rank were. Victorian men also expected women to possess feminine qualities as well
as innocence; otherwise, they would not be of marriage potential. The patriarchic
system was the norm and women usually led a more secluded, private life. Men,
on the other hand possessed all kinds of freedom. Man was naturally the head of
the family and the guardian of family members. He was the protector and the
lord. He was strong, brave and hard-working.
Lin. And your husband? How do you
get on with him?
Victoria. Oh, fine. Up and down. You know. Very well.
He helps me with the washing up and everything.
Lin. I left mine two years ago. He let
me keep Cathy and I’m grateful for that. (Act 2, scene 1)
Victoria. You’re leaving him? Really?
Betty. Yes your hear aright, Vicky, yes.
I’m finding a little flat. That would be fun.... (Act 2, scene 1)
From the conversation above, we can see that
the era was changed. Women can freely left their husband. Men also help women
in their house work. The word ‘fun’ Betty used shows us that she want to enjoy
her life. She wants to free from her husband. And Lin already free from her
husband. In the modern era, social rules are not as strict as in Victorian era.
The women can freely express themselves without pressure from the men. Men also
don’t expected more as in Victorian era eventhough patriachal system still
valid as in Victorian era. They can help their wife in houseworking and keeping
chidren. Gender tolerance has already applied in this era so that women can live without a lot of
pretension.
6.
Conclusion
It can be concluded that there are different
perspectives toward sexual orientation and gender in
Victorian era and Modern era. It is influenced by social rule and morality. Strict
rule and moral issue in Victorian era prevented people to express themselves
freely. Meanwhile, the tolerance that applied in modern era act conversly.
7.
References
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