nz theatre - bare by toa fraser

“Love, sex, family, friendship, youth and bad movies - listen to

our people talk!”

Trudy-Anne Rowe 2011 [email protected]

Toa Fraser

Bare


Who is Toa Fraser?

. Toa was born in Britain in 1975 to a British mother and a Fijian father and moved to Auckland in 1989.

He was educated at Auckland's Sacred Heart College and the University of Auckland.

His first play, Bare, premiered in 1998 and achieved national and international success, winning Best New Play and Best New Playwright at the New Zealand Chapman Tripp Awards. It played to considerable acclaim at the Edinburgh Fringe

Festival in 1999. In that same year, Fraser followed up Bare with the solo show, No. 2, performed by

Madeleine Sami.

No.2 won a prestigious Festival First Award when it was performed at the Edinburgh Fringe Festival in 2000, and has since had rave reviews in Jamaica,

Australia, the UK, and recently it was translated into Spanish for the Cervantino Festival in Mexico.

In 1999, he won New Zealand's prestigous Sunday Star Times Bruce Mason Award.

Toa's work continues to be informed by his Fijian/British heritage, as demonstrated by his third

play, Paradise, which premiered in Wellington, in April 2001.

In September 2001, Toa was the recipient of the University of South Pacific's Writer in Residence

programme.

Bare was remounted in 2007 for Silo Theatre's 10th Anniversary and published by Playmarket (with

No.2) in 2007.

Toa lives in Auckland and continues to write stage and screenplays

http://www.playmarket.org.nz/bookshop/order_a_script/_author/id_1075/fraser_toa.htmlTrudy-Anne Rowe 2011

[email protected]


I'm a storyteller, I want to tell

stories about all kinds of people,

from all over the world. Also as

a Pacific storyteller, I feel it's important that we don't let

others pigeonhole us. Bare, No.

2, Dean Spanley, they all have in common the idea of

connection, across suburbs, national boundaries,

generations, emotional barriers... It's what I do, I

connect.Toa Fraser

What is “Bare”?


BareO Bare is the inter-twining and inter-linking of

characters from different walks of lives, sharing their stories, their dreams, their aspirations, their fears and their desires.

O Originally performed by two characters who broke the “fourth wall” (speaking to the audience and speaking through the audience to the other character).

O The breaking of the “fourth wall” creates the development of dramatic tension, the awkwardness of relationships, and the creation of space and distance between characters and the audience.

O It also creates a closeness between character and audience. The audience feels connected to the character, as the performer is facing them, looking out to them, confronting them.


The run of Bare… Shout-outs TV Pitch Gym Babe Burger King Customer Smoker giving up Smokie Parking Warden Shakespeare Guy At the point of Sale Dave’s Dissuader Manager-Family Restaurant Smells Emanating Woman Pissing Dave joins the gym Animal Tangles Quads Sirena TV guy in BK Rich pisshead Too-much smoking-croaky voice lady Shakespeare Guy meets Venus Gym babe counselling Dave applies for BK


How does the work of Toa Fraser’s Bare fit

into New Zealand culture, history and

identity?



The Noughtie

s

O Workforce

O In the early 2000s two-thirds of adults were

in the workforce. Three-quarters of this group

were full-time workers. Since the mid-1980s

the number of part-time workers has grown

rapidly. Women were more likely to work

part-time. In 2000–2003 the unemployment

rate hovered between 5 and 6% – one of the

lowest rates in the developed world. Service

industries employed two-thirds of the

workforce. Over time the labour force has

become increasingly skilled and better

educated.

O Political O 2008 was a momentous year in New

Zealand politics, with the occurrence of

some significant political controversies,

gathering economic gloom, the decline

of a number of long-term political

careers (including that of prime minister

Helen Clark), and the holding of a

general election for the house of

representatives, which led to a change

of governmen to Nationalt.

O Prostitution was legalised, and the anti-smaking

bill were passed which caused a huge amount of

discussion amongst the public of New Zealand

http://www.teara.govt.nz/en/economy/1/2

“Cultural recovery package”Promoting New Zealand on the globalised

‘world stage’ has become a priority since the announcement in May 2000 by Helen Clark, as Minister of Arts, Culture and Heritage of

an NZ $86 million ‘cultural recovery package’ to be spent over three years stabilizing arts

infrastructure (Kelly)


As stated in the 2006 Census results:

O2006 Census results showed the ethnic make-up of New Zealand continued to change. More people identified with more than one ethnic group – 10.4 percent in 2006, compared with 9.0 percent in 2001.OThe Māori ethnic group increased by 39,048 (7.4 percent) and now totals 565,329. One in seven people identified with the Māori ethnic group.O'New Zealander' was a separate category for the first time in 2006, and was previously counted in the European category. Of those who identified themselves as New Zealander, 12.9 percent also identified with at least one other ethnic group.ONew Zealander was the third-largest ethnic group, with 429,429 people or 11.1 percent of those who stated their ethnicity.OAsian ethnic groups grew the fastest, increasing from 238,176 in 2001 to reach 354,552 in 2006 (an increase of almost 50 percent). The number of people identifying with the Asian ethnic groups has doubled since 1996, when it was 173,502.OThose identifying with Pacific peoples ethnic groups had the second-largest increase from the 2001 Census, up 14.7 percent to total 265,974.OEuropean remains the largest of the major ethnic groups, totalling 2,609,592 (67.6 percent) in 2006.


Features of “Bare”

Influence of Brecht on the staging of Bare

It is obvious to see that Fraser has been influenced by the work of Brecht.

“Today when human character must be understood as the 'totality of all social conditions' the epic form is the only one that can comprehend all the processes, which could serve the drama as materials for a fully representative picture of the world.” (Brecht)

“The audience must be made aware that events are not present events (happening now), but past events being represented as narrative, with commentary provided to encourage our own reflection”. (Brecht)


Features of “Bare”StereotypesThrough exaggerated language and gestures, the non-standard constructions, marked ethnic accents, stereotypes are created. Fresno-Calleja (2010) Playing (with) Stereotypes in Post Colonial Theatre - The Journal of Commonwealth Literature 45:171)

“My inspirations are from people and the street. It’s not from sitting in a room and formulating things from the back of my head” – Toa Fraser, interviewed on Lumiere Reader website

Stereotypes of culture“It’s eight o-five in the p.m, here on the wassup hour, down at Soul FM 86.8, time for one more shout out. Who we got? (p17)“Nah, didn’t go and see that bro….Nah I don’t support that shit aye bro”(p22)“No, it’s coz he’s a rashist….Just because I am white doesn’t mean I…(p21)“I could have become one of these little skinhead bastards, I inherited a whole bunch of freaky anti-shit, and I don’t pretend that I’m above that” (p33)


Features of “Bare”Stereotypes of gender“So I’m pissing on the street. And don’t deny it Constable, you think it’s sexy too” (p28)“Bet your missus does it all the time…Chicks go out and chicks piss behind walls (p28)“

Stereotypes of socio-economic status“So I want you think about present-day representations and constructions of the South Pacific, and see how all that fits in with what you are reading at the moment” (Academic Woman – p32)“Yogi, you better not be eating that ice-cream! Yeah, I’ve got a couple of minutes, come in, Shelley, shut the door. Yogi! Yogi! Can you go on a break please? And tell Luisa and Gina to as well. No. Tens. All of you. Yes all of you….. (Manager –Family restaurant) (p25)“Fuck I can’t stand Burger King anymore, I’m going to leave that soon” (p21)“Yeah, they’re my poodles. Well, they are our poodles, but I’ve got custody of them. Oh well, me and him used to be partners but we’ve split up ‘cause I can’t fucken stand his drinking problem anymore, sot that’s that’s” (p42)


Features of “Bare”

Kiwi” ColloquialismsSup

Wassup‘coz

G’day mate, how ya doin’Kick it’s arse

NahBro

Schnizlle my nizzleOut of it chick

StinkTry hard

Give him the sack


Features of “Bare”O Usage of swearing

The usage of swearing through the text by the characters gives the narrative a reality – these are real stories, and people swear.

“So you can imagine, he’s not going to want to let this little Fijian fuck have a got on it, he’ll probably trash the bastard”. (p31)

“Swearing is like using the horn on your car, which can be used to signify a number of emotions (e.g., anger, frustration, joy, surprise).”

Swear words ( taboo words) can include sexual references (fuck), those that are profane or blasphemous (goddamn), scatological or disgusting objects (shit), animal names (pig, ass), ethnic/racial/gender slurs (fag), ancestral allusions (bastard), substandard vulgar terms and offensive slang. Taboo words can be mildly offensive to extremely offensive, and people will often use a more mild euphemism to replace a swear word when in mixed (or unknown) company.”

(Grohl J - Why do we swear? http://psychcentral.com/blog/archives/2009/03/30/why-do-we-swear/


Features of “Bare”O Broken sentence structure – to give the sense of

conversation and the change of direction in the conversation

O It can also create dramatic tension and awkwardness

“Damon. He was like TC and I was like Magnum. BA to my Hannibal. We used to build shit” (p32)

Venus “Hey I remember you.Dave Yeah?Venus You work in the movies?Dave Yeah.Venus I came in the other day with this guy. We went to

see Teenage Mutant Ninja Turtles.Dave Yeah? (p29)


Features of “Bare”O No stage directions, props or set designThis means that the interpretation of the

script is up to the performers and the importance of the stories of the characters is forefront for the play.

“The actor’s skill in playing the stereotype might be threatening [in that] becomes an enactment rather than a state of being. The embodiment of the character helps to transcend the literal interpretation of the role” (Fresno-Calleja)


Bare and developments in

NZ Theatre1890sOMelodrama, vaudevilleO Building of theatres and opera houses

OThe Māori land warsOThe Boer WarOThe New Zealand long depressionO The First World War

1920s–1950sO British Drama League playsOThe Great DepressionO1940O Agitation propaganda (agitprop) theatre

OThe Second World WarO1950sOThe beginning of a New Zealand identity in professional theatre:Bruce Mason1970sODevelopment of theatre funding, advocacy, and training:OThe Queen Elizabeth II Arts CouncilOPlaymarketOThe New Zealand Drama SchoolO Professional theatresOThe feminist movementOMāori land marches

1980sOAcceptance of a New Zealand identity in staged theatre:O Roger HallO Mervyn ThompsonO Renée

The Springbok tour, 1981O Rogernomics; right-wing economic theory

1990sOA renaissance in New Zealand theatre; plays with a Māori or bicultural perspective:O Briar Grace-SmithO Hone KoukaOIwi and Crown Treaty of Waitangi settlements

The Pacific Island Theatre Company, established in Auckland in the mid- 1980s, was the first theatre company to focus on the social concerns of Pasifika peoples. Pacific Underground was subsequently founded in Christchurch and incorporated some of the original Auckland company.

2000sODevelopment of Paskifika and Asian theatre; growth of multiple theatrical styles:O Indian Ink Theatre CompanyO Albert WendtO Jo RandersonO Oscar KightleyTrudy-Anne Rowe 2011 [email protected]

Bare and developments in NZ Theatre

Theatre in the new millennium has introduced other cultural voices to the New Zealand stage.

“Voice is an important post-colonial metaphor; the disenfranchised can be viewed as politically and personally de-voiced” (Halba).

There are more plays which are being written and produced that focus on the stories of the “disenfranchised” as Halba states.

Theatre practice has reacted or engaged with the – arguable never completed – hegemonic process of political and ideological persuasion, coercion and consent that is colonisation in a variety of ways through its modes of enactment, dramaturgy, practice and subject matter, with complicity, resistance, negotiation, or through any combination of these” (Halba).

New Zealand Theatre depicts “some sense of New Zealand identity by definition present language, images, locations, historic points and the like which they expect New Zealand audiences to appreciate”



New Zealand really has begun to own its place as a Pacific nation, culturally at

least, and with that we're able to speak with a real athleticism and confidence. It's exciting, but we have a long way to go……. And the main thing is... Nobody's going to

let you tell your story if you only sort of think it's worth telling. It's hard work, driving yourself everyday to believe in

something. But you've got to believe in it.” Toa Fraser



“The future for Australian and New Zealand Theatre as national presences or international players seems to lie in the committed inventiveness and vivid

creativity of the vast activity sitting sometimes well below the annual financial turnover threshold of the

majors” (Kelly)New Zealand and Australian Theatre can be understood as moving into a

post-nationalist phase (Kelly)Trudy-Anne Rowe 2011 [email protected]

Bare and the New Zealand Identity?

Bare captures the new New Zealand Identity, through usage of characters, which resonate for New Zealanders.

We all know the “Ex-Smoker”, the “Gym babe”, the “Academic woman”, the “Radio DJ”.

We know the stories of these characters – the stories of love, failed relationships, and the intertwining of each other lives, as for many of us; we have met these people, live with these people or ARE these people!

Identity can be theorised as a performance in which the individual plays different roles in different social situations. Multiple roles reinforces the notions that a multiplicity of identities arguable constitutes any individual (Halba)

New Zealand Theatre depicts “some sense of New Zealand identity by definition present language, images, locations, historic points and the like which they expect New Zealand audiences to appreciate” (Jaffe)

“Construction of identity is never complete, rather ongoing. Never defined, only continually refining. Never done, only doing (Jaffe)


Bare provides a “gritty” view of New Zealand..

It is not sugar-coated with New Zealand’s desire to be “clean and green, pure or

100%.”It represents real people, living real lives

with real issues, problems and relationships.

It is a narrative that New Zealanders can identify, relate to and resonate with,

because these are the people that we know, we live with or we ARE!


References Fraser, T (2007) Bare – Playmarket, New Zealand Fresno-Calleja, P (2010) Playing (with) Stereotypes in Post Colonial Theatre The Journal of

Commonwealth Literature 45:171) Grohl J – Why do we swear? http://psychcentral.com/blog/archives/2009/03/30/why-do-

we-swear/ Halba, H (2009) The Flames of Hope: The Representation of Prophecy in Two New

Zealand plays – Australasian Drama Studies 55 Halba, H (2010) Performing Identity: Teaching Biclutural Theatre in Aotearoa –

Australasian Drama Studies 57 Jaffe, J.C (2009) Loop/I/ness in the New Zealand Performance of Identity (or, Id Entity) –

Australasian Drama Studies 55 Kelly, V (2001) The Globalized and the Local: Theatre in Australia and Aotearoa/New

Zealand enters the New Millennium – Theatre Reearch International Voluem 26 No.1 p1-14

http://www.playmarket.org.nz/bookshop/order_a_script/_author/id_1075/fraser_toa.html Perry, B (2009) Non-income measures of material wellbeing and hardship:first results from the 2008 New Zealand Living Standards Survey,with international comparisons - Ministry of Social DevelopmentWellington Smith, A (2009) Home Land or Homeland?: Taking Root in the Land of Aotearoa/New

Zealand – Australasian Drama Studies 55 http://www.teachit.co.uk/armoore/drama/brecht.htm http://www.teara.govt.nz/en/economy/1/2 http://www.stats.govt.nz/browse_for_stats/people_and_communities/pacific_peoples/

pacific-progress-demography/population-growth.aspx http://www.stats.govt.nz/Census/2006CensusHomePage/QuickStats/quickstats-about-a-

subject/nzs-population-and-dwellings/ethnic-groups.aspx http://www.thebigidea.co.nz/news/blogs/talkwrite/2009/sep/60230-cultural-storytellers-

toa-fraser http://www.tki.org.nz/r/arts/drama/posters/6/key/key_periods_e.phpTrudy-Anne Rowe 2011 [email protected]

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