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BA (Hons) Drama and Theatre Arts

Permanent URI for this collectionhttps://eresearch.qmu.ac.uk/handle/20.500.12289/7233

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2015 - 20172

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Start date: 2015End date: 2017

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    The Construction of Hegemonic Masculinity in Alan Bennett's The History Boys
    (Queen Margaret University, 2017)
    The view of gender as a versatile social construct rather than a fixed attribute determined by biology has been the most prominent approach to gender studies since the late 20th century. It has set up the basis for the perception of gender as a performance that is influenced by various aspects of society and culture, through which hegemonic ideas of gender identity are maintained. This dissertation examines the representations of hegemonic masculinity in Alan Bennett's (1934- ) The History Boys (2004), incorporating Michel Foucault's (1926 - 1984) theories of biopower alongside with the works of gender theorists such as Raewyn Connell (1944- ). The aim of this close textual analysis is to explore and discuss how the concept of masculinity is constructed and governed through social relationships between men, and how these interactions and influences shape their personal identities. By the inclusion of Foucault's idea of biopower, this dissertation is able to examine the roles of the restrictions and expectations men themselves place upon other men both personally and through cultural and social institutions such as schools, suggesting that hegemonic masculinity is constantly and actively maintained through processes that are conducted both consciously and unconsciously.
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    A practical exploration of processes required in the development of a monopolylogue from initial stimuli until finished performance.
    (Queen Margaret University, 2015)
    The monopolylogue is a form of theatrical storytelling, in which a single performer embodies various characters. The term has originated in the early 19th century, although, practitioners have been known to create multi-character solo performances prior to the invention of the term. Despite the popularity of this form of theatrical entertainment, monopolylogues have not been greatly researched. Accounts of parts of recent performances exist, along with interviews with practitioners; however, none of those allow great insight into the processes required in the creation of a monopolylogue. Therefore, this dissertation aims to provide the missing information. This dissertation, titled 'A practical exploration of processes required in the development of a monopolylogue from initial stimuli until finished performance.' explores the creative processes in the development of a multi-character solo performance through combining practical and academic research. It includes writing a 30-minute monopolylogue script, rehearsing it and performing it in front of a live audience, followed by a post-show discussion. Thus, allowing insight into every aspect of the creation process from initial idea to presenting it for an audience, rather than focusing on only one.